ABC, as we all should know by now, are an English New Wave band that charted ten UK and five US Top 40 singles between 1981 and 1990. Packed with power pop hits, orchestral string arrangements, and a man with a voice that could sing the world's babies all to sleep (at the same time), tonight Martin Fry brought his band with him to entertain the ready-and-waiting crowd.

Having had both Cutting Crew and Wang Chung open for them (should have also been Missing Persons, but, well, they went missing somewhere along the line!), ABC take the stage at 10.00pm and provide a wonderful, colorful backdrop of sounds and lyrics for their appreciative fans.

As soon as Fry's voice is heard, nobody is seated from that moment onwards! Especially when we get straight into 'Poison Arrow' which is followed up by the delicious '(How to Be a) Millionaire.' "Ok, let's go," he says with a smile to both the crowd and, on a spin of his polished heels, also to his band, as they head into 'The Very First Time' and 'That Was Then but This Is Now.'

A track from the new album Traffic, 'Ride' proves a huge hit on the night, as its emotive lyrics are matched expertly with Fry's stage persona to provide us with a showman still at his peak. I mean, truly, ABC live still sound as soulful, and as required as they did back in the day. Dressed in an expensive suit, well groomed, Fry still eminates the charm and swagger of an old school Sinatra. Stopping only to introduce his band, we next get the sultry 'All of My Heart' and '4 Ever 2 Gether,' before the sounds of their very first single, 'Tears Are Not Enough' are lovingly sung.

'Be Near Me' comes next, before one of the finest songs ever played on the radio is given lovingly to the sea of fans - 'When Smokey Sings.' Inclusive of some Martin Fry funky, suave dance moves, the song fairly illuminates the dark night sky. But, come the final song of the night, from the debut album classic The Lexicon of Love, it's the tale of unrequited love within. 'The Look of Love (Part One)' that brings the show to it's picture perfect end.

Review and Photos by: Russell A. Trunk

www.ABCmartinfry.com

www.RegenerationTour.com

Check Out The Reviews Of Cutting Crew and Wang Chung!

CUTTING CREW CONCERT REVIEW

Wang Chung, the British New Wave act that found their greatest success in North America - with five Top 40 hits here alone - tonight ramped up their greatest hits package and brought it to Michigan. Having watched Cutting Crew open for them, and they themselves the meat in the musical sandwich before headliners ABC took to the stage, Wang Chung (Jack Hues and Nick Feldman) take to the stage. Smiling broadly, the grey-haired duo may not look like they once did but man, can they play like they ever did!

The bouncy 'Don't Let Go' is first out the bag and is quickly followed up with the brilliantly-paced, 'Wait.' Afterwards, and with a wonderful play on words, Jack looks into the unfortunately sparce outdoor arena crowd, "What are you people waiting for? Come on, Let's Go!". And so, the totally fantastic, uplifting beats to that very same named song are then pumped out to a very appreciative gathering.

"This is a new song we have and as we have more time to play tonight [due to Missing Persons, well, missing!] we thought we'd play it for you. It's from our new album, 'Abducted By The '80s' which means you will now all rush out and buy it next year. Or, I guess, you'd stay in and download it these days! Anyway, it's called, 'Driving You'." With comments floating around the crowd that the song has a real 'nice beat' to it, it's a great introduction to a forthcoming album that has been beyond highly anticipated for years now!

"How y'all doin'? Cheers!" Nick asks and then thanks the crowd. "This is a song from a soundtrack we did in the '80s. This is called, 'To Live And Die In L.A.'. With a stool now brought out for Jack to sit and strum on, the band performed a stripped down acoustic version of the darkly atmospheric song.

With Jack's vocal tones as sweet and as dusky as ever, and Nick's bass playing as controlled and as English as ever, the group with a fine musical legacy behind them then spring forth into another of their huge hits. "After all that melancholy sound," Jack announces, "here's a song that needs no introduction." 'Dance Hall Days' is that song and quickly has everyone back up on their feet, dancing and clapping along.

After the huge amount of applause has died down, Jack makes his final speech of the night. "Thank you all for coming out. This last song is for all you guys here at Meadowbrook tonight. And by a process of elimination, I think you all know what it will be!" And with that, and a slightly funky bass intro, the chords are struck for the arrival of 'Everybody Have Fun Tonight.'

And trust me, with everyone up on their feet, singing so loudly it could plainly be heard from the stage, both Jack and Nick knew they hadn't lost a stride in the music business. Sure they should have played their '89 hit, 'Praying to a New God,' but why quibble over the little things! For, having listened to the audience after their set, their fans are already eagerly awaiting that upcoming new album (circa 2010), as once they always did.

Review and Photos by: Russell A. Trunk

www.WangChung.com

www.myspace.com/wangchungtheband

www.RegenerationTour.com

Check Out The Reviews Of Cutting Crew and ABC!

CUTTING CREW CONCERT REVIEW

Cutting Crew, a pop rock band from the UK, and best known for their wordwide #1 smash hit, '(I Just) Died in Your Arms,' haven't toured the US for many, many years. Once a four piece, the Adult Contemporary chart-topping band is now down to just the one original member, lead singer, producer, and songwriter Nick Van Eede. And tonight, he takes the stage as the opening act to both Wang Chung and ABC here on the Regeneration Tour 2009.

Come the 8.00pm mark, and playing to a shamefully empty outdoor arena of vacant seats, I'd be grossly amiss if I didn't mention that those not there missed out on something very special tonight. Eede's vocal tones are incredibly spot on still. His perfected tonality exercises having paid off through the years as come the very first song, 'Hard On You' you know that he's not here to mess around.

Up next, and both opening songs from his latest album 'Grinning Souls' we get the politically-minded 'Shot of Democracy' which is followed by a trip back to 1989 with the celtic-infused album title track, 'The Scattering.'

"Thank you so much," Nick eminates to the few-and-far-between audience members that are up and clapping him and his band. As a treat he then brings them his 1986 hit 'I've Been In Love Before,' his voice as pitch perfect as it was 20 years ago. Then comes another of their big hits from the day, 'One For The Mockingbird' which is done with a slow intro, that halfway through breaks forth into its true rock version.

After accepting the huge round of applause for the song, a guitar solo lead in to the final song allows Nick to move off stage for a moment, before he strides back on and storms into the opening lyrics of, '(I Just) Died in Your Arms' - which has everybody now up, dancing, clapping and singing the lyrics at the tops of their voices.

Review and Photos by: Russell A. Trunk

www.CuttingCrew.biz

www.RegenerationTour.com

Check Out The Reviews Of Wang Chung and ABC!

WANG CHUNG CONCERT REVIEW

After a day of hot dogs and burgers with dad on Fathers Day, it was time to get down to action!

Total Nonstop Action, to be exact.

As you entered the Palace of Auburn Hills there was a sense of excitement and anticipation. Anticipation for TNA Wrestling's Slammiversary Seven: Cross The Line. Scheduled to go "Live at 8:00pm," we were treated to two pre-live matches, one of which had Dearborn, MI's very own "The War Machine" Rhino and his partners Jesse Neal and Eric Young - who unfortunately came out on the short end of the stick after Young walked away leaving Rhino and Jason to fend for themselves against the British Invasion and Brutus Magnus!

Towards the end of the match Dixie Carter could be seen in the crowd signing autographs and posing for pictures with the Championship Belt. Soon after that the countdown to the show going live started. "5-4-3-2-1" ... then explosions from the pyrotechnics came forth, as well as the capacity crowd ... and then chants of "TNA" were all that could be heard.

Our first live match would be for the X-Division Championship, a King of the Mountain match - which pitted hometown favorites Motor City Machineguns vs. Lethal Consequences vs. Suicide, the reigning champion. Detroit Tiger Outfielder Curtis Granderson was introduced as the guest commentator for the match.

In this high flying ladder match, in order to be eligible to win you must pin one of your opponents, but at the same time if you are pinned you must spend two minutes in the penalty box. Once you are eligible, you must take the belt and hang it on a hook suspended in the air - made only reachable by a ladder.

The match started with everyone ganging up on Suicide pinning him thus sending him to the penalty box. The Machineguns and Lethal Consequences then waited and hyped up the crowd with the Machineguns signature taunt, pointing at their palms to show that they are from Michigan. After some high flying thrills and somersaults to the ladder from Suicide, Suicide finally hung the belt and retained his championship.

The next match was Christopher Daniels against "The Franchise" Shane Douglas in a "Second Chance Match" - which if Douglas won means he would take Daniels spot on the TNA roster. But when Daniels hit his signature move, The Best Moonsault Ever, he took that opportunity away from "The Franchise" and won the match. Angelina Love defended her "Knockouts" championship against Tara, with the help of Love's "Beautiful People" partners Velvet Sky and Madison Rayne. Love was able to hit her finisher The Makeover to beat Tara and keep her title as "TNA Knockout" Champion.

The first ever "Monsters Ball" match teamed Raven with Daffney as they faced Abyss and his partner Taylor Wilde. This was a extreme hardcore match which saw Wilde and Daffney go at it with tables and stacks. It looked like Raven was going to finish Abyss off with his famed DDT, but Abyss reversed it and turned it into his own finisher, the Black Hole Sun, and pinned Raven for the win. Raven, who is Jewish, happens to be a member of Mensa as well as a member of Theta Chi Fraternity - through the University of Delaware Alpha XI.

Matt Morgan, who has been attacking members of the Main Event Mafia for sometime in order to get his voice heard (that he should be the leader of this elite group within the TNA) finally got his chance at Slammiversary - as he faced "The Icon" Sting. Though Morgan was very confident and cocky of his talents he just could not match the experience level of the seasoned Stinger who took the match by pin fall. Beer Money, the number one contenders for Team 3D's TNA Tag Team belts, had lost the respect of Brother Ray and Brother Devon when Beer Money didn't come to rescue Team 3D when the British Invasion assaulted them in the past.

With the crowd shouting "need more tables," Team 3Ds signature chant the match was underway. Halfway through the match Rob Terry from the British Invasion came down to the ring and was causing some problems with Team 3D, while Brother Ray was busy dealing with Terry. Brother Devon was being pinned by Beer Money, ultimately losing their belts.

The last match of the night was another King of the Mountain, this time it was for the TNA World Championship. A.J. Styles, Samoa Joe, Jeff Jerret, Kurt Angle, and Mick Foley were fighting for the belt that Mick Foley held. All but Kurt Angle were in the ring when Angle's music began to play. Out came Angle wearing a Sydney Crosby Pittsburg Penguins hockey jersey.

The crowd busted into boos, for Pittsburg had just beaten the Detroit Red Wings in Game 7 of the Stanley Cup Championship a few weeks before. As he reached the ring with the announcer stating the rules, Samoa Joe comes rushing in with a Chris Osgood Detroit Red Wings jersey and attacked Angle causing the crowd to go crazy and the refs to start Samoa Joe in the penalty box - hence making Angle eligible.

As the contest continues, Samoa Joe has the belt and starts to climb half way up. Angle sees this and starts to climb the other side of the ladder and reaches the top before Samoa Joe does. Expecting a battle between the two the crowd is at the edge of their seats. BUT the unexpected happens, Samoa Joe hands the belt to Angle who then hangs it for the win. The crowd was obviously displeased, with boos ringing out from the entire arena. So, the Main Event Mafia make their way down the ramp to the ring where they greet each other with open arms and hoist Angle on their shoulders.

And so yet another chapter is written in the always twisting book of the Main Event Mafia. Why did Samoa Joe hand over the belt? What did Angle promise Joe? I guess we'll just have to tune in on Thursday nights to Spike TV to find out!

Review and Photos by: Ramon Trevino, Jr.

Marie Daulne, the founder and fronting member of Zap Mama since the early 1990s, has lived a life that rivals Homer's Odyssey. Filled with peril and triumph, globe-spanning quests, and a series of personal achievements that seem almost heroic in scope, her story is one of epic proportions in the annals of world music.

She stands with one foot firmly planted in tradition and the other in the progressive sounds and sensibilities of a new century, and she consistently merges the two with an effortless grace that never fails to mesmerize.

With a simple black stage setting, but for four oversized balloons sitting center stage - blue, green, yellow, and orange - Marie came on stage in a multicolor duster with large polka dots that matched the balloons. On her head, she wore a hat which held an actual vinyl album!

Her band consisted of two back-up singers, each wearing a large summer hat, whose brim swept their faces, and matching scarf. There was also a bass player, drummer, a keyboard/lead guitar, and to my pleasant surprise, a trumpet/flugelhorn player. It was nice to have live trumpet hits and stabs, instead of sounds from the keyboardist.

By the second song, fans had moved up front and started dancing to the sounds of Zap Mama. The audience was one of the most eclectic of any concert I’ve attended: From toddlers to senior citizens, to including all races, with business professionals to earthy peacekeepers. It was truly One World, One Love inside the Power Center Tuesday night.

Including songs from the new release, 'ReCreation,' and known favorites such as “Show Me The Way”, Zap Mama, kept the spirit alive and the audience mesmerized. Incorporating the call and response with the audience, the Power Center was turned into a huge choir.

After she thanked the audience for being there with her classic, “Merci Beau Coup”, the band left the stage to huge applause, leaving the crowd wanting more.

They returned and opened the encore with the popular “Bandy Bandy”, which was more exciting to see and hear performed live than on video or record. After giving the audience several more songs, she once again thanked the audience for attending and left us all feeling fully "zapped."

June 13th had a fairly cool wind blowing through DTE on this Saturday night that however was about to change, and heat up fast. Clay Walker was set to take the stage and give the country music fans what they came to see - just a darn good show.

Entering the stage from the left Clay appears from behind the curtains with a huge smile waving to the crowd as the band members take their places. With that smile that had every lady wanting to catch his eye, he walks up to the microphone and starts to sing, 'If I Could Make A Living.'

Needless to say the ladies in the crowd screamed their approval. Wearing blue jeans, a tan button-down shirt and his black cowboy hat, he slowly rolls into 'Fore She Was Mama.' It was now very obvious that more than several people in the crowd had a few tears streaming down their face - myself included!

Clay commanded the stage like no other artist. Not running around and yelling, he did it with his voice and guitar. Slowly heading in and out of certain selections masterfully, to put it bluntly the crowd was held captive. After a couple of slower songs such as 'Eyes Wide Open' and 'Feels So Right,' Clay picks up the pace with, 'Days That End In Y,' 'Live Until You Die,' and 'Who Needs You, Baby.'

We are then all informed that on the day before, Clay was at FanFare in Nashville and only had 30 minutes of stage time. So he tells us tonight that, "As we didn't have time to do this next song there, tonight we're actually live online. So, this one is for those of you who were at FanFare as well as you here in Michigan". He then goes into 'This Woman.'

'She's Good' is next on the list and halfway through the song Clay asks, "Any bad girls here in Michigan tonight?", to which the ladies let Clay know who is good and who is better! 'I Can't Sleep' is on deck next, followed by a story about when he went hunting last year with Ted Nugent. As Ted tells Clay, "You see that turkey? Go ahead, hit it in the head!" To which Clay responds, "Yeah, right!" Well, after some coaching by uncle Ted, Clay takes aim then lets loose - and as Walker himself then exclaims, "Damn, I did it!" Ted then informs Clay that his shot had been one in a million and how'd he done that? To which Clay replied, "Well, you told me I could."

Clay then begins to tell us that there's "something special about the Detroit area" and then goes into the Eric Clapton song-to-his-son, 'Tears in Heaven.'

Clay's not done with us yet though as he tells us, "You Michigan people really know how to have fun. It's in your blood" and just then, upon cue, six four feet in diameter beach balls come out from behind the curtains and get kicked out into the crowd - thanks to Clay and the band! As 'Then What' comes to and end, Clay, almost feeling the pain that we're having due to the Auto Industry layoffs, goes off the set list to cover a Bob Marley song, 'Everythings Gonna Be Alright.' The entire crowd now sings along in a very surreal moment - one of a true connection.

'Cold Hearted' is next on the docket as Clay throws two towels into the crowd of screaming fans. Things slow down with 'Fall' after which the band and Clay gather to say their collective thanx. "Thank you, soooo much everybody, and God Bless."

Several moments pass as Clay then returns to the stage to tell us, "I saw Kid Rock after our show last night and Kid said he was flying out about 1am and did we all wanna ride on his plane?!" Clay then addresses the crowd, telling them that as they don't want to have all this good energy built up here tonight to take all the way home with them, a good song is needed. And so a cover of the Rolling Stones' 'Honky Tonk Women' is the perfect fix. And then, as Clay and the band prepare to leave us for the evening, he says one last time, "God Bless you, we love you Michigan."

Huey Lewis and the News are, as anyone who knows music can quickly attest to, an American rock band (nay, institute) who, after having had a run of hit singles during the 1980s and early 1990s, are still rockin' it out full force live today. And so this past Saturday night, and before a sold-out crowd of 5,000 here at Caesar's Windsor Casino, Huey and his band of merry men took to the stage; lit only by the pulsating red lights, and the loud drum heartbeats to 'The Heart of Rock & Roll.'

'Don't Fight It' is up next, but not being a well-known song for the semi-followers of the band it lands of deaf ears. 'I Want A New Drug' is brought to the fore next, inclusive of a brilliant harmonica break from Huey, it is still very noticeable that the 5,000 seated audience could worryingly remain that way till the end of the show!

The great 'Small World' is next, bathed in green, it also features a wonderful sax solo from Johnny Colla. 'If This Is It' gets some of the front audience to raise their hands and sway them, but more importantly it seems Huey's voice is a little strained, somewhat gently cracked tonight. 'The Power of Love' is next, and Huey (seeing the danger of a seated audience the whole night) encourages them all to stand up and dance along with the band. "Sorry about last night's hockey game," he says after the song, referring to the Red Wings loss in the Stanley Cup Final, "But tonight we're gonna have a good time!", he promises.

The under-rated 'Jacob's Ladder' is next, complete with green-lit guitar solo from Stef Burns and another harmonica break from Huey, he closes the song with a fist-pumped inquiry, "Are you still with me?" Wandering into a speech about sushi and how it tastes like fish when it's cooked, he then explains that this is their 4th night of the tour and that the next song they're gonna try they haven't gotten right yet! Promising that tonight was to be the night, the band sang the brand new tune, 'Slow Twistin' - via their five-piece harmony sound - just perfectly!

Continuing the acappella portion of the show, all core members of the band front of stage, mic stands all lined up alongside each other, Huey tells the audience, "I want everyone to clap their hands" before the surf music song 'Uh-Huh' is sung. 'Heart And Soul' is next, followed by The Drifters classic, 'Some Kinda Wonderful.' And then, out of nowhere, two female audience members run all the way from the back of the arena to the front of the stage to dance for Huey! Which suddenly, and so very quickly breaks open the fan floodgates and soon has every man and his dog striding forth to also be up there, right under Huey's nose!

"Are you still with me," Huey once again inquires, as now the band head into old soul favorite 'But It's Alright' ... which includes the mini xylophone (or glockenspiel, depending on where you come from!) signature riff, that a lucky, unsuspecting chosen member of the audience will never forget her part in (see photo!). Bathed in a royal blue light, 'We're Not Here For A Long Time (We're Here For A Good Time)' is next. "Did you have a good time," Huey asks one last time, before waving goodbye.

Coming back out for the encore, the new blues track 'Saturday Night' is sung first, before a rousing audience-now-on-their-feet 'Back In Time'! "Thank you for coming out tonight," Huey speaks for the last time, "We obviously enjoy what we do, so ... I hope you love me like you say you do!". This, of course, leads into the song of the same name, before the blue collar anthem show finale, 'Workin' For A Livin' is sung (and consequently dedicated to all the hard working men and women in the armed forces).

One last moment left for the bands traditional group bow, arms bent in either a muscle pose or Huey's usual 'yeah' arm-pump pose - I'll leave that down to your own choice of interpretation - and then some 80 minutes after they'd come on, Huey Lewis & The News leave the stage under a mix of bright yellow and white hot dancing spotlights.

Review and Photos by: Russell A. Trunk

Xylophone / Glockenspiel Girl = Lara Marcinkowski!

www.caesarswindsor.com

Caesars Windsor Upcoming Shows

Just Announced!
The Commodores
Larry the Cable Guy
Loretta Lynn
Donna Summer
John Legend
Michael Bolton
KISS
The Beach Boys Box Office hours:
Monday.............Closed
Tuesday............Closed
Wednesday-Sunday
Non Show Day...........12pm-8pm
Show Day...........12pm-12am

If you were looking to catch some memories with some 'good ol' swamp music,' DTE was definitely the place to be. Taking the stage shortly after 7:30pm, and quickly taking us back to when times REALLY meant something, when a cause had a song and the song's had meaning, memory makers, Creedence Clearwater Revisited (the original band's reincarnation project) rocked out DTE for nearly two full hours.

Not wasting any time, CCR went right to rocking with 'Born on a Bayou' which instantly sent us right where we wanted to be. The next song was 'Green River.' It was nothing but a down home party thereafter as CCR lead singer John “Bulldog” Tristao sang 'Suzi Q,' which he introduced as, "Here's a lil' Motown 'Suzi Q' for ya."

Not wanting to be overlooked by some of the crowd, "Bulldog" also paid mention to the Stanley Cup Final Game 7 that our hometown Detroit Red Wings were in, saying "When we came on stage it was 0-0 so were keeping an eye on the score for ya. Asses will be kicked. It'll be a Red Wings night tonight here at DTE ... but, ya know it'll always be Pine Knob to us." Which then sent the three-quarters full crowd into a clappin' frenzy!

Tal Morris on guitar/vocals, Steve Gunner on guitar/keyboards, "Bulldog" on vocals/guitar/harmonica, along with original CCR members Doug "Cosmo" Clifford on drums/percussion/vocals, and Bassist Stu Cook were sure gonna make sure we had a good time.

"Cosmo," while introducing the band, informed us that he played in a Red Wing Alumni Association fund raiser with former Red Wing players. Stu also informed us that he and Doug had known each other since they were 13 years old; along with John Fogerty, of course.

Slowing things down a little was a selection for the girls, 'Long As I Can See The Light.' Not wanting to keep the crowd waiting the band rolled in to 'Down on the Corner,' 'Looking Out My Back Door,' the Marvin Gaye classic, 'Heard It Through the Grapevine,' 'Midnight Special,' 'Bad Moon Rising,' and 'Proud Mary.'

By this time there was NO other words others than crazy to describe the more then approving crowd. Their affection towards the band was displayed with a standing ovation of at least a minute or more.

As they quietened down, "Bulldog" addressed them, "This next song is in the people's key ... so there should be no reason for anyone not to sing"! 'Have You Ever Seen The Rain' belted from the speakers as well as everyone's voices which come the end of the song had "Bulldog" exclaiming, "Hot damn!"

'Travelin' Band' ended the set, but after a few minutes they were back on stage at which time 'Cosmo' tells us, "We're gonna do a real old one for ya now. It's from our first album written by Wilson Pickett. It's called '99 1/2 (Won't Do)'." They then followed that with one off their second album, 'Good Golly Miss Molly,' which Stu informs us is from one of their first inspirations, the great Little Richard.

After a few more minutes off stage, an impromptu drum solo from "Cosmo" brings our attention back to the music, but not before Stu makes an apology. "Sorry for the delay, but I haven't broken a string in over 40 years!" To which the crowd shows their approval with another ovation. Then CCR head into 'Up Around The Bend.'

And so yes, it was definitely a night to remember with CCR lined across the stage shoulder to shoulder, arm in arm. Bowing to the baying, whooping crowd, they thank us, one and all. "Thank you, Pine Knob."

To which we say in return that it is indeed US that should give the thanx to you, CCR!

Born and raised in Kalamata, Greece, Yanni Hrisomallis (pronounced Chrysomallis, more or less!) followed other paths before his music became his primary focus. The self-taught pianist, keyboardist, and composer, who earned Grammy nominations for his 1992 album, 'Dare to Dream,' and the 1993 follow-up, 'In My Time,' is back out on tour and with a new album to promote, has changed things up a little too!

Coming out on stage tonight at 7.45pm precisely, the now short-haired Yanni proceeded to play 3 songs by himself behind the piano, before introducing himself to the crowd. That garnered a nice response back from the relatively half-attended venue that had him grinning from ear to ear. "Sorry Detroit, I have been away for so long, but I promise to return sooner the next time."

Dressed all in black with a long sleeve shirt, his sleeves pushed up to the elbows, Yanni told us we would be hearing a mix of classic songs with some new selections thrown in. And so, the perpetually grinning keyboardist led a pitch-perfect orchestra through two sets of his New Age music, accompanied by videos of the monuments of nearly every human spiritual tradition as well as the requisite simulations of moon, stars and crashing waves.

It was then that he introduced his singers, one by one as they performed their songs. First was Venezuelan-born Ender Thomas, who for the most part, took over the Spanish-themed portions of the show. With his flowing dishwater blonde hair and the Spanish in his voice, he knew how to work over the crowd; which the ladies really showed their collective approval for too!

Another successful musical choice was Nathan Pacheco, whose operatic arias played off Yanni's simple melodies and basic rhythms, rather than following them. But, and most prominently featured was the young lady simply named Chloe, who alternated heavy bouts of upward-gazing singing with some mightly suggestive dancing!

After the 15 minute intermission, the opening song of the second set had Yanni at the piano while a balance beam was brought centerstage. After a few bars entering from stage left, a young lady in black took to the beam to perform while Yanni played a soft, somewhat easy going accompanyment. While I have never seen this before it seemed somewhat awkward at first, but slowly won over the crowd. Indeed, by songs end the crowd was yelling for more!

Yanni himself, was in great spirits throughout the show, constantly contributing a swarm of finger movement through the air; sometimes at the singers to rise, rise, and raise their voices higher, and sometimes, well, because he was simply in his own musical moment. As we headed into the final bend of the show, Ender sang a song about a homeless child ('Angel') which although was sung in Spanish seemed to strike a chord with the crowd in general. Come the end of the show, Yanni once more stated that he would not leave it so long before returning once more to the area.

What a country music powerhaus double act, if ever there were one! With the lovely, oh-so-cute and my-oh-my so pretty Taylor Swift opening for him, Keith Urban's fans were more than a little warmed up come the moment that the lights went down for him to take the stage!

Swift, her strong vocals, perfect body, and gorgeous butter-wouldn't-melt-in-her-mouth smile rocked the opening 40 minutes. A simple set allowed for her to spring forth all her known songs, along with tell a few stories about them along the way also.

Dressed in a simplistic red, sequined dress, all those hits came pouring out of her mouth one-by-one. But saving the best for last, her long, blonde, curly sue hair always seemingly in her face; to be fruitlessly swiped up, back, and away, she brought us the elongated 'Should've Said No,' 'Love Story' and, backed by a screen of flames, 'Picture To Burn.'

As if timing it perfectly, Keith Urban waits for the video screens to announce that at the end of the 1st period the Red Wings are 1-0 up in Game 5 vs. Pittsburgh, before shutting off the lights, dropping the huge black stage-covering curtain, and bounding on, guitar-blazin,' to the Bryan Adams-sounding, 'Hit The Ground Running.'

With the video screens behind him now split into five, each showing a band member at work, "Detroit," he screams into the mic, "it's great to be back," before 'Days Go By' is then sung. 'Stupid Boy' is next, complete with guitar solo ending, and taking a trip back to the first record he then brings us 'Where The Blacktop Ends.'

But, what he then does during the next song is what makes him stand out from the average arena rocker! In truth, Urban is such a multi-talented individual that it's hard to take him all in at one time. I mean, not content with filling the main stage with his presence, he unexpectedly cuts to stage left, and whilst still playing his guitar, hits the ground running!

Finally ending at the back of the sold-out arena, he finds his small, more personal stage and settles in for a few songs. "Who's got the good seats now?", he jokes with those all huddled in the cheap seats, before heading into, 'A Night To Remember.' Then, he spots two very young girls who can't see him properly, and so invites them up on the small round stage to sit with him whilst he sings, 'Making Memories Of Us.'

Back now to the main front stage, he introduces his mandolin player to the mic, who then gives us a chorus of 'Who Do You Love?,' before the stage goes dark, slide shows of b/w summer scenes are shown, and Urban begins to sing the slow, 'Til' Summer Comes Around.'

Next up, and finally from this journalists point of Urban musical view, 'Sweet Thing' is sung, backed by Cosmos scenes on the video screens. The crowd love it and their voices collectively raise! Next he intros the band, showing with each one their baby / young adult photos large and in living color on those very same video screens! Each comes to the mic, sings a few lines from a fav song of theirs, and then when all done, Urban sits himself down under a bright white spot and sings (albeit with a made-up, er, lame jam before it!), 'Raining On Sunday.'

Bringing the show into its final bend, 'Kiss A Girl' is next up and is quickly followed by 'I Told You So.' Leaving the stage for a guitar and t-shirt change, he comes back after a short collage of YouTuber's covering lines to his song; a song which he himself then proceeds to sing, 'You'll Think Of Me.' Shouting "Here we go" into his mic, the barnstorming 'You Look Good In My Shirt' is sung - complete with yet another left of stage walkabout!

This time, however, he only goes halfway up, has his mic stand placed on a spare seat and finished off the song! Back up on the main stage, and to a sweet mandolin opening we next get 'Love Somebody Like You' - the song that propelled him into the stratosphere back in the day. Firing the audience back up instantly, its placement as the last song in the main set leaves the audience pumped and wanting more.

Coming back out first with the slow, 'Tonight I Wanna Cry,' bathed under the deep lights of royal blue and rich purple, he makes his way through that before quickly leaving the stage, re-dressing in a Red Wings jersey (they won 5-0! this night), and hits us with both the bouncy, 'Better Life' - AND a major drop of confetti!!

Reviewed by: Russell A. Trunk

'Dedicated to You: Kurt Elling Sings the Coltrane/Hartman Songbook'

Kurt Elling, Vocals ... With Ernie Watts, Tenor Saxophone; The Laurence Hobgood Trio; Laurence Hobjood, Piano; Clark Sommers, Bass; Ulysses Owens, Drums; And ETHEL - Cornelius Dufallo, Violin; Dorothy Lawon, Cello; Ralph Farris, Viola; and Mary Rowell, Violin

Kurt Elling stepped onto the Michigan Theater stage with the comfortable swagger of the accomplished Jazz Veteran that he has become. He wore a tailored Charcoal Gray suite, and his hipster goatee. Having been nominated for eight Grammy nominations for “Best Jazz Vocal Album” , Mr. Elling gave a Grammy worthy performance.

Opening the set with “All or Nothing at All”, Mr. Elling quickly warmed up the Michigan Theater. Even though the venue lacked the intimacy of Ann Arbor’s, Firefly Club or The Ark, Mr. Elling made the audience feel up close and personal.

Laurence Hobgood displayed his incredible arrangement through-out the evening but truly impressed with the prelude to “Dedicated To You” , by using the terrific String Quartet Ethel to start the piece by plucking the rhythmic melody on their strings, providing the tone for Mr. Elling to showcase his vocal ability.

He sang “Lush Life”, with depth and passion, allowing him to float in and out of the melody, using his amazing ability for improvisation through scatting. Paying homage to those before him, Al Jarreau, Eddie Jefferson, and Jon Hendricks (more on Jon shortly!).

He segued into the story behind the original 1963, John Coltrane and Johnny Hartman recording. Explaining how John Coltrane reached out to Johnny Hartman, saying he wanted to record an album with him. Hartman hadn’t heard of Coltrane playing ballads, so was reluctant at first. After a practice session at Birdland, after one of Coltranes gigs, the realized they were a match. A week later March 7, 1963 the album was recorded in one session, using the Classic Quartet, with McCoy Tyner (piano), Jimmy Garrison (bass), and Pontiac Michigan’s own Elvin Jones (drums).

Two-time Grammy Winner Ernie Watts gave a fiery solo during Autumn Serenade, providing the energy for Mr. Elling to answer with his own brand of singing which made the audience respond with great applause. He even commented on the Energy in the room saying “that it is not always like this”.

The night reached an amazing crescendo with the introduction of his special guest. Being that Toledo OH is an hour drive from Ann Arbor, the stage was graced by the One and Only, Jon Hendricks! Mr. Elling stated that although this was a romantic ballad evening of song, there is no way he could end it on a mellow tone.

The night then became a showcase of vibrant energy, with amazing scatting by Jon Hendricks, and Kurt Elling. You could see the deep admiration and respect held by Kurt Elling for Jon Hendricks, giving constant hugs, and hand-shakes during their performance. This also gave opportunity for the drummer Ulysses Owens,and bassist Clark Sommers to stretch out, and show their chops. During the encore, there was a trade-off between Ernie Watts, Jon Hendricks, and Kurt Elling, within “Bye Bye Blackbird”, that hopefully was recording for a later release.

We were told that this show was previously recording live at the Kennedy Center for release, let’s hope they included tonight’s performance with Jon Hendricks. I am looking forward to the release of the concert CD so I can relive this over and over again!

Thanks you Mr. Elling, come back soon!

Review by: Jim Esnault

Marc Broussard was seemingly destined for a life as a music man. As the son of Boogie Kings guitarist Ted Broussard, his upbringing in Lafayette, La., instilled in him an affinity for R&B alongside the Cajun trappings of southern Louisiana.

Broussard was barely 20 at the time of his first album, 'Momentary Setback,' which appeared in 2002. And yet having quietly made his way closer and closer to snuggle into people's hearts, this unabashed persona still manages to be somewhat of an enigma. For without realizing it, I actually walked passed Marc Broussard on the sidewalk while on my way to grab a bite to eat in Downtown Ann Arbor!

After returning to the smokey filled room where many national artist has cut their teeth, I waited for the show to begin. Being just slightly familiar with Marc’s music, I was anxious to hear and see what this cat could do. I expecting just another blue-eyed soul singer (ie: Robin Thicke or any American Idol contestant, in truth!)

When he came on stage, I thought “That’s the guy I just acknowledged on the street," looking as if he could have just filmed a commercial for the GAP! And as soon as the band started playing and he began to sing, I knew he was the Truth!

This white boy had Soul for real!

Ripping through covers of classic Marvin, Donnie, Marley, and Stevie to name but a few (and yes, he has the guts and the talent to pull it off), Broussard also brought to us an all new set of original tunes from his latest CD, 'Keep Coming Back.' Recorded in just 11 days at Nashville's historic Ocean Way Studios (he told us that!), the new songs confirm his position as an artist with a unique gift of channeling the multiple spirits of classic R&B and soul into contemporary terms.

Go see his show, buy his CD’s, trust me; you will not be disappointed. For if you love real deep Soul with a dash of Lousiana rock and funk you're gonna die for this man's soul! That’s a good Gumbo!

But, if you don’t know Marc Broussard then please allow me to make the introduction right here, right now.

Los Lonely Boys are a family tradition.

The family band is a great rock’n’roll institution - from the Everly Brothers and the Beach Boys to the Black Crowes and Hanson. There's something about the unstudied perfection of sibling vocal harmonies that creates a distinctive, irresistible style.

Los Lonely Boys, three brothers, guitarist Henry Garza, bassist JoJo Garza, and drummer Ringo Garza, Jr., from a tiny town in West Texas, are about to write a new chapter in this compelling saga of America's musical families.

Beginning as their father’s backing band, the boys have come a long way since their debut self-titled album in 2003, and tonight played in from of a packed house; having been opened up for by the mighty Los Lobos.

Culling extensively from 'Forgiven,' the third album from the Grammy Award winning multi-platinum band, Los Lonely Boys didn't have a set list and just (basically) jammed the night away.

Kicking off with 'Hollywood' from their debut album, the evenings tone was immediately set. Henry and Ringo had previously joined Los Lobos in a two song set and so it was only right that later in their own set that they brought out the lead guitarist, accordian player and sax to do a three song set. A set that included such hits as 'Suzie Q,' 'Born On A Bayou,' and 'I'm A Man.'

Los Lonley Boys ended their set with a full ten minute long version of their big hit 'Heaven' which had the entire crowd dancing and singing. Called The Brotherhood Tour, Los Lonely Boys even had time to introduce a buddy named Russ Steel (nicknamed 'Guerro') to the fray before finally leaving the stage for the last time to rapturous applause.

Review & Photos By: Ramon Trevino Jr.

One (1) Photo Color Correction By: Francisco Gutierrez

The typical Collective Soul song has a one-word title, runs between three and five minutes, prosecutes a catchy '70s-style melody over warm, burbling '90s-style guitars, frets about the human condition, and dominates rock radio for months at a time.

Tonight they brought their barrel load of one-word title's to the fore and opened up the nights entertainment with songs such as 'Heavy,' 'Listen,' 'December,' and 'Shine.' Indeed, 'Shine' was the first song of the set to get everyone singing along to.

'The World I Know,' 'Gel,' and 'Better Now' all passed the crowd-pleasing test, but it was the latest hit 'Hollywood' that finally got them all up on their feet and singing aloud. The song started off regular then went into a reggae styling, before the guitar riff work to AC/DC's 'Thunderstruck' and then 'Dirty Deeds' finally brought them back into the way 'Hollywood' should be finished off.

Saying their collective thank you to the other two bands for letting them join the tour, then a big thank you to the "good people for being here and listening to us," they ended with a semi-acoustical 'Now.'

Like Phish and Widespread Panic, Blues Traveler emerged in the early ’90s as part of a new vanguard of jam bands in the tradition of the Grateful Dead and the Allman Brothers. Early on, the band's reputation was built on relentless touring, marathon sets, and the explosive harmonica solos of oversized front man John Popper.

Tonight they took to the stage as first support to Live, but performed as if they were the actual headliners. Playing a plethora of songs from various albums of theirs, as 'Run-Around' had drawn to a close Popper spied a man in the front row. Listening to what he had to say for a moment he then promised the man (Doug Watson, Shelby Township, MI) that the next time they came around they'd play his requested 'Conquer Me' - instead of 'Run-Around'!

More songs followed before a very animated Popper told the crowd that they were all "f**king awesome" and that he gave his thanks to both Collective Soul and Live for allowing them to tour with them. Toasting them with their raised water bottles high in the air, Blues Traveler brought their show to a close with a cover of Cheap Trick's 'I Want You To Want Me' and a crowd-pleasing rendition of their own 1994 hit 'Hook.'

After making music together for more than half of their lives, touring their way around the world and selling more than 20 million records, the four members of Live - singer, Ed Kowalczyk; guitarist, Chad Taylor; bassist, Patrick Dahlheimer and drummer, Chad Gracey - certainly know how to put on a show.

Stepping out into the main spotlight tonight, the crowd ready to rock after Blues Traveler had more than got their feet tappin', they kicked off the set with 'Simple Creed,' 'All Over You' and 'Waitress.' Live's energy levels are visually pumped, totally on a par for what the crowd expected and demanded. Ripping their way through the night, other hits such as 'I Alone, 'Selling The Drama,' 'The Dolphin's Cry,' and of course a poetically riveting version of the great 'Lightning Crashes' are brought to the fore, one by one.

Throughout his career, John Mellencamp has had to fight, whether it was for the right to record under his own name or for respect as an artist. Of course, he never made it easy on himself. Mellencamp began his career in the late '70s as a Bruce Springsteen clone called Johnny Cougar. As his career progressed, his music became more distinctive, developing into a Stonesy blend of hard rock and folk-rock.

Indeed his musical development coincided with his growth in popularity and tonight, in front of a sold-out out open air crowd he brought his 23rd album 'Life Death Love and Freedom' to their ears - along with some classics, of course.

Taking to the stage behind his group of assembled musicians, Mellencamp wastes no time. With a sharp backdrop that showed a combination of old video footage and images of American life he waits for the one minute standing ovation to cease before opening with 'Pink Houses.' The theme and tone of Americana was off and running and featuring a whole host of lyrical topics - such as family, farming, community, race, politics and more - he continued on in with a rousing 'Paper and Fire,' 'I'm On My Way' and a bathed-in-purple lit set for 'My Sweet Love.'

Dressed smartly in a black vest, black pants, black shoes and a powder blue shirt, Mellencamp then gives us a subtle intro to 'Check It Out' before announcing to the crowd that he'd driven "700 miles to be here tonight" and bringing us 'Worn Out Inside.' "I just released my 23rd album," he tells the crowd, to a warm round of applause. "Do you think Jesus takes emergency prayers? Like when you're throwing up in the commode and saying you won't ever drink any more if he makes it stop?" As the laughter dies away he sings 'A Ride Back Home.'

And as the band leaves the stage and Mellencamp is stood all alone under a bright white spot, his guitar his only musical companion, he takes the moment to sing the chorus from 'Young Without Lovers' before stopping to say: "Ain't that the shits! To be young without lovers and old without friends." Asking the crowd to join in on the chorus they come in weak first time around: "Guys, what is this, 8th Grade?! You can do better than that." They do the second time around.

'Small Town' is next, compete with a cranked up guitar solo and a wonderful ending brought to the fore by both the accordion and the violin. Indeed, they both start off the next song 'Rain on The Scarecrow' - the blood red setting very, very poignant - and follow it with 'Peaceful World' and 'If I Die Sudden.' "Thank you very much," he says at tails end, his hands clasped together. He then tells a story of a young 14 year-old Mellencamp singing soul tunes - such as 'My Girl' - in bars back in the day and how badly his young black singing partner was treated. Finishing that story he sings the racially-toned 'Jena' from the new album.

'Human Wheels' is next followed by a fast-paced, heartfelt 'Crumblin' Down,' before a fantastic 'R.O.C.K. In The U.S.A.' and a heartily applauded 'Jack & Diane' bring the set to a close. Oh but the true highlight of the night? Well that was when Mellencamp asked fans during the aforementioned 'Jack & Diane' to all pull out their cell phones and make a call to a family member or a friend. He then patiently waited as everyone scrambled to find their phones, dial their numbers and hold them up to him on stage. Then, once people were ready he said a little message to them all out there in "cell phone land" and got them all singing in unison the chorus once more!

Coming back out for the encore with 'Authority Song' the crowd were still there, although the weather having turned to thunderstorms and heavy rain by now might have had them enjoying the last few bars of the show a little longer than usual - rather than getting soaked heading to their cars early to avoid the usual mad dash parking lot escape game!

As a solo artist and as the lead singer of the Baby’s and Bad English, John Waite was a fixture of album-oriented rock radio stations during the '70s and '80s. Waite had a talent for power ballads and driving arena rock, occasionally touching on new wave-styled power pop, as well. Having hit after hit with songs such as 'Missing You,' the Baby’s' 'Isn't It Time,' and Bad English's 'When I See You Smile,' Waite fast became a radio staple.

Sure those days have gone - with regard the hits and the air play - but as a performer and a voice nothing has been lost over the years. Opening tonight for Survivor, the forecast thunderstorms and lightning having reduced the crowd down to a shameful bare minimum for this open air gig, Waite didn't miss a beat. Kicking off with 'Change' and slowly making his way to 'When I See You Smile,' his vocals are unchanged, as powerful and as passionate as ever.

Indeed, even a few mic screeches cannot put him off his stride, although if looks could kill the soundboard guy must not have made it home tonight! "We're gonna play all the songs you wanna here tonight," Waite explains. "But they will all be Rolling Stones songs," he sarcastically adds! As he progresses into 'Act Of Love' and 'In Dreams' the storm clouds gather, darkening the pavilion area sooner rather than later.

"Anyone like Bob Dylan," he asks, but getting no quick response added, "Well, I don't care 'cause we're gonna play one anyway!" A rousing 'All Along The Watchtower' is then brought to the fore, before a speech about his taste of the Grand Ole Opry concludes with 'Whenever You Come Around.' The crowd pleaser 'Missing You' is next and it's obviously a song he still loves as he broadly smiles his way through it.

He then thinks about introducing the band and just as quickly decides not to, before he says, "A lifetime ago I was in a band called the Baby’s." Removing his jacket he and the band fairly crank out 'Isn't It Time' for a welcoming audience. Admitting that the next song could "get a little ropey so hang on," 'Everytime I Think Of You' is next and is quickly followed by a prolonged, gutsy 'Midnight Rendezvous.' 'I Wanna Be Your Man,' 'Me And Baby' and a cover of Zeppelin's 'Rock And Roll' finally bring the show to a close in some style.

Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll cannon.

Tonight, on a beautiful evening the 62-year-old singer graced our presence with his truly unique mix of folk, blues, soul, jazz, gospel sound. With the lights low, and only black curtains adorning the set with a variance of lighting on them throughout the show, somehow, the music is enough to captivate and mesmerize you. There is clearly no need for bells and whistles to distract you from the pure sound of music at its finest.

Emerging to a standing ovation, Van "The Man" saunters out with his nine-piece supporting cast at the elegant Fox Theatre in Detroit. He then ensured that the following 95-minute set was beyond worthwhile; and yet still contained some rare twists and turns.

Standing confidently in a gray suit and black hat, Morrison's vocals were truly amazing as was the performance of his seven musicians and two female singers. Sarah Jory, a find guitarist seems to pull things together and get the crowd to their feet; clapping during several of Morrison's songs. Indeed, she is a key part of the entire performance and keeps things jumping.

Beginning the night with 'Wild Night' he proceeds on into 'Why Must I Always Explain' - a song culled from a 1993 interview with Victoria Clarke in which he expressed that he didn't "really want to have to explain" himself because he's "not really interested in doing that. If I was I would be somebody else." The sound is remarkable and is similar to watching a mini orchestra play with all the instruments just right on cue. It is noticeable that they have sheet music as Morrison's performance will never be the same two nights in a row. Beating to the rhythm of his own drum, Morrison's talent oozes from the stage; It is quickly apparent to all that are witnessing this performance tonight that Morrison's voice is pitch perfect, that his devotion is on cue, and that we are in for a wonderful night.

He quickly then sails into 'Tupelo Honey' - a great song but just one that didn't have the right amount of impact tonight - and follows it up with 'Saint Dominic's Preview' (where in truth a rousing horn section ala the original was sorely missing), but still the entire band were up on their feet. 'Keep It Simple' from the new album of the same name is next followed by 'On My Way Back' (the audience now clapping along with Jory), and the moment is brought to a close with both 'Wavelength' (a longer than required version, at that) and (lit in blood red) a defining cover of Pink Floyd's 'Comfortably Numb.'

The track, which Morrison originally performed back in 1990 when Roger Waters staged the classic Pink Floyd album 'The Wall' live in Berlin, resulted in some hair-raising, spine-tingling moments on this night. While looking down at a lyrics sheet, he managed to make the song into his own with his unique, powerful range and passion.

By this stage his vocals mixed with the bands music simply pops off the stage like art on a canvas! The harmonica is his next choice of instrument and he begins playing as 'I Just Wanna Make Love to You' (with Jory choreographing everyone to have their fingers snappin' the whole time) is brought to the fore. 'And The Healing Has Begun' is next, it's ending a delicate harmonica bed, before he states to his band "Go tell your mama" and brings us 'Good Morning Little Schoolgirl.'

Further on and 'Domino' brings the crowd back to his feet and is an obvious crowd pleaser, which he follows with ''Rough God Goes Riding' - which he adds: "Just like Billy The Kid, just like Clint Eastwood, just like "Wild Bill" Hickock, ... Yeah, plumb nice day!"

And as the strains of music continued to filter all around him, Van Morrison finally (silently) exited; only to quickly return for 'Gloria,' capping off a night that was far from predictable.

In my opinion though I would have to equate the experience with going to a fancy restaurant. One where the Chef has his exquisite daily specials of which you know you should partake - as he has perfected them over time for the delight of his "audience." And then there's the regular menu of chicken fingers that everyone is familiar with. To my mind Van Morrison has carried out this same theory in his delivery on stage tonight.

For he left the audience wanting for more in his 95 minute performance and not playing the songs everyone was hungering for - 'Brown Eyed Girl,' 'Into the Mystic,' 'Crazy Love,' 'Someone like You,' 'Bright Side of the Road' - I have to admit left people around me wondering why!

I have to say I wouldn't have missed the show and it was worth the price of admission, as steep as it was for the average Joe, but in as much as I like the Chef's special I LOVE Chicken Fingers! Well, I'm sure by now you get the point!

Review by: Lara A. Marcinkowski

Additional reporting by: Bill Axtell

Jon Bon Jovi spent from 1983 to 1988 establishing his hard rock band Bon Jovi as one of the most popular in the Western world with multi-platinum albums such as 'Slippery When Wet' and 'New Jersey.' Since then - amazingly a full 25 years in total - Bon Jovi the band has sold over 120 million albums worldwide, including 34 million in the United States alone.

Tonight at the sold-out Palace of Auburn Hills in MI, even before the band come out the stage is noticeably devoid of bells and whistles. Dark in look, bleak in appearance for sure, but as the lights go down and Jon Bon Jovi arises from beneath the stage to join his fellow band members, suddenly the multiple stage lights dazzle and the back video screens illuminate to reveal four images of Jon singing the nights opener, 'Lost Highway.'

His band mates, including guitarist Ritchie Sambora, keyboardist David Bryan, and drummer Tico Torres are on fire from the moment they feel the warm spotlight hit them. But, and considering Bon Jovi's vast catalog of hits, it was surprising to hear so many covers spliced into their own songs! But more on that later.

Bon Jovi, performing a majority of their songs from their earlier albums, next sang 'Born To Be My Baby' (the second of five singles from the New Jersey album). "Is everyone having fun tonight?", Jon asks, smiling thru the lyrics, swaggering across the stage, he's definitely in the mood tonight. "Detroit on a Monday night. I gotta know. Are you with me out there?" And as the crowd responds with a rapid amount of noise, Bon Jovi bring us 'You Give Love A Bad Name.'

A lazy-day 'Summertime' (from the 'Lost Highway' CD) is next, complete with clouds and shooting stars punctuating the video screens, it's a flashback to those laid back '60s dayz for sure. "Once upon a time, back in 1983 we recorded this ...", Jon states as the band crank out a rip-roaring version of 'Runaway.' Indeed, Bon Jovi performed a majority of their songs from their earlier albums. And throughout the night not only did the audience provided additional background vocals with each and every song on their set list, but also after their conclusions they received a large ovation - that varied in degrees, if truth be told.

But then comes a segment of the night I just can't wrap my head around as they brought forth covers of both 'Twist & Shout' (Beatles) and 'Start Me Up' (Stones) - the latter complete with Jagger swagger and lip pouts! As Sambora puts on a black cowboy hat (which remained on his head for the rest of the night), Jon thanx everyone and then allows a croaky Sambora to sing an extended version of 'I'll Be There For You.' 'Any Other Day' is then sung - which barely drifts across the minds of the semi-static audience - before Jon announces that he's "happy to be back in Motown" and 'We Got It Going On' is brought to the fore.

Claiming it was time to "crank up the volume," 'It's My Life' is next up, before the bass guitar quickly introduces a passionate 'Keep The Faith.' Sambora again is allowed to step up to the mic - asking for forgiveness for this sinus infected vocals - and sings (off key for the most part) 'These Days.' Although the violin / guitar solo jam at the end with Lorenza Ponce was definitely a major highlight.

The final major highlight of the night happened when a freshly attired Jon appeared out of nowhere on a tiny platform for two songs somewhere close to mid-arena on the floor. An amazing experience for us all, let alone the girls whose seats he was now directly in front of, this overly intimate setting proved to be the perfect moment for Jon to perform '(You Want To) Make A Memory' (from 'Lost Highway') and the beloved classic 'Bed of Roses.'

With all the solo dances and kisses finally done with those lucky ladies, he walked back to the main stage and blasted out 'Have A Nice Day' - complete with red smiley face direct from their album cover high above. 'Who Says You Can't Go Home,' 'Bad Medicine,' and as the back stage rises to form one large video screen, Jon vocally winds everyone up before crashing through the '60s dance classic, 'Shout.' With it ending with Jon looking like an extra from 'Footloose' (re: his pose and his now wind-swept, fluffed up hair and red face), Bon Jovi bring the set to a close by sweeping back into 'Bad Medicine' one last time.

Quickly coming back with the encore songs 'Wanted Dead Or Alive' - culminating with Sambora and Jon front stage with guitar salute in full victory pose - they finally bring the night to a close with the hugely popular, 'Livin' On A Prayer.' "Thank you, Detroit. I hope we see you again soon. Goodnight" are the last words from Jon's mouth as he waves goodbye for one last time before heading back under the stage.

So, if you enjoy Bon Jovi’s music and have not seen them perform live, I would encourage you to see them live. Because you will not be disappointed. All Jon's fellow musicians - inclusive of those in the touring band - proved equally entertaining as they culled the Bon Jovi catalog together. Providing a very entertaining experience for fans of any age, between the music, the audience participation, and the storytelling this was a show to be seen.

Review by: Russell A. Trunk

After starting out as an unsuccessful pop singer (working under the name Vance Arnold), Joe Cocker found his niche singing rock and soul in the pubs of England with his superb backing group, the Grease Band. Indeed, he hit number one in the U.K. in November 1968 with his version of the Beatles' 'A Little Help from My Friends.'

Tonight, opening up for the equally rock iconic Steve Miller, his friends may have changed over the years but Cockers passionately soulful vocal tones are still as perfect and as guided as any known to man. Opening with such songs as 'Feeling Alright,' 'My Baby Wrote Me A Letter,' 'When The Night Comes' and euphoric 'Up Where We Belong' it was when he reached 'You Are So Beautiful' that the crowd was literally now hanging on every spoken or sung word the man uttered.

"It's good to be back in Detroit," he exclaims, in one of his few spoken outbursts with the sod-out crowd. 'Come Together,' 'No One Knows You When Your Down Out,' and 'You Can Leave Your Hat On' - a song that the crowd went NUTS for - all have them on their feet by this stage; the latter tune culminating in a 37 second standing ovation of pure hand clapping sound!

Bringing the show into the station Cocker brought us 'Unchain My Heart' - which received a full 39 second loud standing ovation - and 'A Little Help From My Friends' - which Joe about three-quarters of the way through incorporates his huge, yet deep signature scream off into. A massive one minute and 35 second standing ovation followed before he finally left the stage leaving the crowd baying for more.

Coming back out for the encore his all-time classic 'Came In Through The Bathroom Window' was followed by 'Cry Me A River.' Finally leaving the stage for good, Cocker walks to the mic, smiles a sly smile and says, "Detroit! Goodnight and keep rockin'"

Steve Miller's career has encompassed two distinct stages: one of the top San Francisco blues-rockers during the late '60s and early '70s, and one of the top-selling pop/rock acts of the mid- to late '70s and early '80s with hits like 'The Joker,' 'Fly Like an Eagle,' and 'Abracadabra.'

Tonight he casually strolled out on stage at 8.45pm, and after casually welcoming the crowd to is show by saying, "Good evening and welcome to Swingtown," he follows with "Tonight we have a lil' magic for ya" ... and heads straight into 'Abracadabra.'

"It's great to be back in the Motor City," he exclaims afterwards. "Ya know, walking around backstage I saw a picture of me on the wall. Man I look like I was 12 years-old" he laughs, before heading into 'Shubada' - from 'The Joker' album, side two. 'The Stake' and 'Mercury Blues' are next before he’s back chatting with his fans once again. "While playing three nights at the Filmore in San Francisco earlier this year," he says. "I called Sonny Charles from The Checkmates (Motown Records) to come and join us. I'm proud to say the newest member of the Steve Miller Band is Sonny Charles!"

'Pretty Thing' is next before Steve makes everyone aware that the night is dedicated to Bo Diddley; and then proceeded to chat about him for awhile longer. 'Come On,' 'Ooo Poo Pa Do' - an old Jessie Hill tune - and T-Bone Walker's classic 'Stormy Monday' are next in line, before his own classic 'Fly Like An Eagle' is upon us ... for a good solid 15 minutes or more!

Playing a Sitar Miller purchased in N.Y. in 1965 for $125.00 out of a barrel at Manny's, 'Wild Mountain Honey' has never sounded better. He then goes on to tell us that he got a call and the Rock & Roll Hall of Fame was sending someone over to talk to him! They wanted to buy this very same Sitar. He told them no thanks, but they said they would pay him $932,000.00 for it. He then asked the crowd "Should I sell it or should I keep it?" several times, before telling them he thinks he's gonna keep it ... much to the crowds mutual approval! After all, he's had it for 43 years!

Next up was 'Wintertime,' 'Dance, Dance, Dance,' 'Rockin' Me,' and 'Jet Airliner' which really had everyone pounding their dancing feet on the floor. Bringing the set to a close with the classic 'The Joker,' Steve leaves the stage, waving and smiling at all his adoring fans.

Coming swiftly back out for the encore, he starts with 'Take the Money and Run' before heading into 'Jungle Love' and then a montage that features: 'Crossroads,' 'Rock Me,' 'Come On,' 'True Fine Love,' and 'Drivin' Wheel.' As he leaves the stage for the last time, his parting words are: "Peace, love, and happiness. Take care of each other. Goodnight every body. Bye bye."

Eddie Izzard's style is heavily influenced by Monty Python, especially in his use of a stream-of-consciousness delivery that jumps between topics as he free-associates onstage. He does not generally work from a script, due to his dyslexia. Instead, he interrupts himself with new joke ideas, the characters he portrays turn into other characters, and he nonchalantly leaps from historical analysis to musings about household appliances. This often results in brief pauses in the routine which he fills with 'so, yeah,' and other verbal tics that have become his trademarks.

Weaving historical tales together of events and thoughts spanning the course of all time into one entertaining stand up event named 'Stripped,' Izzard calmly walks out on stage to a packed, applauding house. And for this latest show he does not don his platform heels and sparkly, tight pants, but instead opts for more comfy sneakers, relaxed jeans, and a black tuxedo jacket with tails; with an underbelly of fire red linen.

Bringing his traditional excitement and charisma instantly to the fore; tools that enable him to reach such a varied audience, his historical wanderings began in Ancient Egypt (which was apt as that was the foundation of his stage set - together with a weird cut out square at its top where an eye and glowing sun slowly passed on by during the near two hour show), and followed on through to the times of Christ, Ancient Greece and Rome, and even up to the post-WW II era in discussions of religion - a topic mostly avoided by comics.

Izzard has such a light touch to traditionally avoided "hot" topics that he is able to joke about them while still being careful not to cross any offensive boundaries. Sure a few of his jokes - probably spur of the moment improv ones - didn't land as well as he'd hoped, but instead of becoming a deer in headlights he jokes that they didn't hit and that they need to be reworked!

The first third of the show covers such anecdotes as Lions, President Bush, his ruminations on Wikipedia (and Jam!), an improv'd Snake and its scales joke that was old, tired, weak ... and yet got the whole audience laughing; even the comedian himself, TV channels, YouTube, 2050 (where there would be no dictators and a minimum wage around the entire world), God's creation of the universe game plan ("Nothing but Volcanoes and Dragonflies"), those once "Bat-shit crazy Germans", the Bible, and even Dinosaurs and their eating habits!

Izzard's style is that of the world's most hyperactive dinner guest! There's wildlife charades: some that involve Tigers and Giraffes, some that involve Badgers (who in the case of the overlong crème brulee skit seemingly "... can be choosers!"), and some that include Buffalo ... or was it Bison?!

The next third of the show was taken up by his ruminations on the Ice Age, the fear of saying aloud the name of 'Macbeth' on stage (which he then proceeded to do 17 times!), the Gatherers, Scrabble, and his own battle with dyslexia ... and that from here on in all sufferers of dyslexia will spell it 'Kat'! He points out that politicians should be more up for a dance during their speeches, wondered why the Nazi's took it upon themselves to name their military walk the 'Goose Step' (when it was clear that "... geese don't walk anything like that"), and Farming - and the need for all those noisy animals when so many silent ones would have meant many more lie ins!

Izzard then goes into an explanation about being a transvestite and how it’s been kind of a double-edged sword for him in the States because he started stand up in the States wearing men’s’ clothing, not sure he would get gigs in a dress! Moving on he discusses Noah and the filling of the Ark - which included a sly reference to one of the animals not being able to get 'The Riches' on his non-working TV - before explaining to us that the 'Good Ship Lollipop' movie was actually the forerunner of the Sparta movie, '300'!

In the final third he takes us back to Roman times, Hannibal's trip across the Alps, how Latin must not have been the easiest of languages to speak to each other in a crisis even back then, and how the fall of the Roman Empire came about because they all died crammed into the same phone box! So yeah, Izzard's show isn't packed with punch lines, per se, just riffs that grow more and more absurd as the evening progresses!

Closing the show with his thoughts on Tapestry ("The first form of Paparazzi"), Charles Darwin and his monkeys, Gnomes, the big picture of Intelligent Design, he even manages to create an entire monologue from the point of view of a disgruntled appendix! Moses, the Burning Bush, the 10 Commandments (complete with an overly-long Plague of Frogs tale!), he ends the night with what should (in his opinion) have been the only Commandment on the tablet: "Treat all others like you would like to be treated yourself" ... and then, clasps his hands together, bows and leaves the stage with a "And that's all from me, goodbye."

Coming back within 30 seconds for a very quick encore, Izzard tells us that although most of his thoughts never amount to much that sending the cast of Big Brother up into space; having them all in such a confined space would have everyone watching - and that he must talk to someone about that! And then, with several more stage bows, he is finally gone for the night.

All in all Izzard's performance was incredible and well worth the journey anyone will make to enjoy this near two hour experience. There is no other way to say this: 'Stripped' is a hit and makes for an incredibly enjoyable evening!

Reviewed by: Russell A. Trunk

We all know that Santana is the primary exponent of Latin-tinged rock, particularly due to its combination of Latin percussion (congas, timbales, etc.) with bandleader Carlos Santana's distinctive, high-pitched lead guitar playing always leading the way.

Indeed, the group as a whole was the last major act to emerge from the psychedelic San Francisco music scene of the 1960s and it enjoyed massive success at the end of the decade and into the early '70s. In-house personel and musical changes then gradually occured, but by the late '90s Santana made a surprising (and yet monumental) comeback with what was to be their/his best-selling release, winning a boat-load of Grammy Awards, 'Supernatural.'

It may have been because of that one album 'Supernatural' that the vast majority of this crowd here tonight was @ the age of 30, but that aside the house was full and the house was alive!

Beginning with what was called an Aoand Video intro, basically it was a video of a dove flying, talks from what we think was a spirtualist, and towards the end with Carlos himself.

Music wise Santana's guitar leapt straight into action with 'Peace/Jingo' and was quickly followed by 'Life is For Living,' 'Everybody's Everything,' 'Batuka/No One To Depend On' and 'Capri/Maria Maria.' Indeed it was after the fourth song Carlos addressed the crowd to talk about peace and love and how we (as in men) should always take care of our women, because when they're not happy nothing happens!

And yes it might be true that while most people probably didn’t get to hear the old favorites they were hoping for Carlos - and an outstanding band of drummers, percussionists, brass, keys and bass - got a packed house onto their feet and showed that he still has the magic tonight.

Continuing on with 'Foo Foo,' 'Corazon Espinado,' 'Incident At Neshabur,' 'BMW/Gypsy Queen' and 'Oye Vomo Va,' intersperced throughout the night there were video montages of a very young Carlos way back to his teens, still photos of the Santana Bros. Band, and a collection of photos from the 60's up to present day.

Bringing the show around its final bend, Carlos brought out the nights opener Derek Trucks for a rousing rendition of 'Exodus' and kept him there for 'Right On.' And then he brought the whole musical affair to an end with 'Brotherhood.' 'Yaleo' (that included a wicked Bongo & Drum solo!), and 'Apache/Smooth/Dame.'

After an encore that included 'Soul Sacrifice' and 'Angel Chant/ Into The Night' - which was introduced with a back drop video of Woodstock crowd scenes - he and his band had played for a solid 2 1/2 hours ... and which for most of us could have happily extended for another hour or more!

It's been a sensational ride to fame for the 18-year-old who caught the attention of Christina Aguilera and Kelly Clarkson's superproducers Evan Rogers and Carl Sturken. Struck by her combination of dancehall, calypso, reggae and soul, Rihanna recorded her first album 2005's Music of the Sun and this year's A Girl Like Me.

Her show was a Disney-esque choreographed fantasy of non-stop hip-swivelling, sassy attitude and personal endearments and a string of funky, sugar-free hits, such as We Ride, Unfaithful, Kisses Don't Lie and the Soft Cell-inspired SOS that, even by hip-hop standards, was surprisingly forgettable. The music took a back seat to fashion as Rihanna had a hard time singing in tune, while her dancing was little more than strutting back and forth. Meanwhile, her hyperactive DJ kept telling us to make some noise, which I thought Rihanna was already doing sufficiently well on her own!

Notwithstanding, Rihanna’s bubble-gum-sing-along-type music, namely Hate That I Love You (featuring Neo on her latest album Good Girl Gone Bad), Shut Up And Drive and her biggest hit to date Umbrella, remixed with a rocksteady outro, found its mark.

There are few American musical acts - or, for that matter, many true rock 'n roll bands anywhere - that have matured as well as New Jersey's Bruce Springsteen and the E Street Band. As the body of Springsteen's work grows, each progressive offering seems to take on its own ageless quality, drawing from rhythms, chord progressions, keyboard lines and guitar leads that often ring out with passing familiarity.

Tonight, here in front of a packed 32,000 aged demographic of avid followers; nay believers, Springsteen allowed the musicola Wurlitzer to finish its merry introductory jig before announcing his arrival onto stage under cover of darkness. "Deeeetroit, is there anybody alive out there?" he screams, as suddenly a main spot is focused in on him; the crowd up on its feet, the "Brooocing" filling the packed house. Tearing into his first single from the new album, lit in green 'Radio Nowhere' kicks of the proceedings.

The rousing 'Night' is brought forth next, but being that Springsteen's often-blistering two-hour-plus set was heavy on new material from the new CD 'Magic,' his latest original recording with the E Street Band, it was no surprise that the majority of tonight's songs all came from said critical spawn. That said, and after a trademark "1, 2, 3, 4 ..." , 'The Rising's violin-infused cut 'Lonesome Day' is followed by 'Gypsy Biker - complete with a familiar harmonica riff opening, before galloping into a full band, and then the hushed tones of the quieter title track ("This really isn't a song about magic. It's about tricks.") bring the trio to a close.

At 58, Springsteen is more urgent than five years ago with the E Streeters and as refreshed as I've ever seen him. Able to balance his various political messages about the deception and despair brought by the Bush administration, The Boss is quite adept at conducting the band with the slightest flick of his Fender Telecaster, his harmonica work an emerging new stage presence in itself.

Bathing albeit quickly in the warmth of the love for a few momentary seconds, Springsteen nods his head gently. "Detroit, thanx for hanging out and coming to see us tonight." The harmonica-driven 'Reason To Believe' (from 1982's dour 'Nebraska') is followed by a pounding 'Jackson Cage,' before bleeding directly into the blood-red lit 'She's The One.' "This next song's called 'Livin' In The Future, but it's really about livin' in the here and now," Springsteen admits, as he and the band create a smile on your face from ear to ear within seconds. Its bright and sassy hook and a too-cool-for-school vibe create a sweet, melodic foundation, to which Clarence Clemons drops in to add some pure sax love to the proceedings.

"Let's bring everyone back home," he next exclaims as the hugely applauded, yet strangely pedestrian-like 'The Promised Land' is sung to his followers. "Do we have any lovers in the crowd tonight?" is the twice repeated question that proceeds the bathed-in-blue 'I'll Work For Your Love' (complete with lyrics sung from an ever-smiling face), but it's his spot-on rendition of 'Tunnel Of Love' that allows those there that haven't purchased 'Magic' to finally sing-along. Complete with its pre-requisite audience participation 'Ooh, Ooh's,' the song's climax also brings both he and wife Patti Scialfa so close to the mic's tip that you'd swear they had snuck a fleeting kiss just prior to the final 'Ooh'!

Mighty Max Weinberg's drum solo, followed by Springsteen drinking water and then spraying it up in the air over himself - just as the light hits him and he starts into his riff - may be a jaded image, but works like it was just invented. The sing-along 'Working On The Highway' - culminating in an Elvis-like guitar hip sway pose - is followed by the quiet, intricate; and yet bold 'Devil's Arcade,' before under bright red spots, 2002's 'The Rising' weaves it nu anthem-like spell over us all.

Unlike classic shows with the E Street Band, this one almost seemed like a Springsteen show with the E Streeters as sidemen. He rarely used Clemons or guitarist Steve Van Zandt as a physical foil. If proof was ever needed, a linear guitar/string line teases us into 'Last To Die,' which is tailed by the keyboard flourishes of 'Long Walk Home.' Bringing the musical juggernaut home with 1978's 'Badlands,' featuring the colossal beats of Max Weinberg’s drums, Gary Tallent’s bass, the chime-topped keyboard chords of Roy Bittan and Danny Federici, Clarence Clemons’s saxophone, Soozie Tyrell’s fiddle and the triple-barreled guitar strumming of Nils Lofgren, Steve Van Zandt and Springsteen himself, the song rose everyone from their seats.

Taking this two hour performance into overtime a breezy slice of '60s pop in the form of 'Girls in Their Summer Clothes' is up next ("This is for all the Michigan girls from a young boy from New Jersey"), and is followed by a powerhaus rendition of 'Ramrod' - a song he admits "... has been unplayed for over five years, but does that matter ... nooooooo,". But it's as the song nears its final curve, and with Van Zandt leaning further into the mic than before, that Springsteen's words echo seemingly louder than ever. "Is it closing time? Is it pizza time? Is it sexy time? I don't know ... what time is it?" To which Van Zandt's screamed reply is, "No, it's Boss time!"

With all the arena lights fully on, a cranked up 'Born To Run' literally rips through the souls of all present. The lazy-pop radio hit 'Dancing In The Dark' is next, but it's the final encore number that truly puts the cherry on the cake. The Irish-embodied 'American Land,' a song so spirited that the words had to be shown on the screens high above the crowd for their vocal participation, was easily one of the highlights of this most exuberant, quite liberating rock 'n' roll extravaganza's.

Culminating in a close up of Springsteen informing the crowd that they had just "witnessed the legend ... that is the E Street Band," paying a final shrug of a lack of knowledge to a small front row banner that posed the question 'Why Isn't Lil' Annie Walker Here Tonight?!,' the band graciously bow, wave, and are finally gone from sight.

Review By: Russell A. Trunk

Any American Idol fan knows Kelly Clarkson after her 2002 win during the first season of the popular show. But this pop and rock singer-songwriter from Texas has accomplished more than escape the wrath of Simon. Clarkson followed a successful pop album in 2003 with the more rock-oriented album Breakaway in 2004, and then decided to break away from her management team for the angst ridden 'My December.'

Tonight, at one of her hastily rearranged (from the Summer's once-proposed arena tour) smaller club gigs, Grammy Award winner Clarkson is obviously still musically angry, but also exudes the stage presence of a vocal pop star.

Taking the small stage complete with settings and multiple band members, the pounding beats of AC/DC's 'You Shook Me (All Night Long)' resonating around the theatre, the curtains finally part to reveal a bare foot Clarkson seated, quietly posed ala her album sleeve center stage on the steps of a walk up, drapped in a rich red cloth. The screams go higher, the cell phones come out and snap pictures left right and center, their glows reminiscent of monster fireflies!

Kicking off the 80 minute set with 'One Minute,' and following it up with the gut-punching 'Behind Hazel Eyes,' Clarkson has the entire mixed demographic in her small Texan hands. "How y'all feelin'," she inquires, before hitting 'Don't Waste Your Time.' "This is the bitterest song that I've ever written. Not even my old management liked it," she laughs, before heading into the loud, yelled lyrics of 'Never Again.'

The bathed-in-blue-light quieter 'Maybe' is brought to the fore next before the bouncy, everybody jump beats of 'Already Gone' and 'How I Feel.' "This next song is my favorite from the Breakaway album," she admits breaking into 'Addicted.' Following that with her newly-rerecorded duet with Reba McEntire, 'Because Of You' is next, before a white curtain drops to separate her from the soon-to-be-changed stage set - thus allowing her to become more acoustic with the audience.

A cover of Patty Griffin's 'Up The Mountain' is next, then a favorite song of her mothers in the quietly sung 'Be Still' - complete with the entire once-white backdrop curtain now entirely lilac, save for the white hot spot on Clarkson herself. The twirling red sirenish lights together with a main riff that now incorporates both AC/DC and Led Zeppelin, 'Miss Independent' is literally screamed to the masses in remix form. "Thank you for being here with me tonight," she says, clasping her hands together prayer like. "This has been the best stop on the tour yet. I mean it," she then gushes, before going into the crowd sing-along song 'Breakaway.'

Wrapping the show with the best song of the night the pure pop bounce of 'Walk Away' is next; a song that lights up the crowd as much as it seemingly does her constantly smiled vocals. The first encore song 'Sober' is sung to a now-swaying audience, but it's the original drunk, bar napkin-written song 'Chivas,' the truly stunningly performed Marc Broussard cover of 'Home,' and the beloved 'Since You've Been Gone' that really bring the musical rollercoaster ride to a monster climax.

Over the course of four studio albums, Train has become nothing if not predictable. Complete with jangly guitars, mid-tempo beats, and occasionally goofy lyrics, it admittedly always left you with a pleasant overall experience. But lead singer Pat Monahan has always been seen as more than just the front to such an outfit. And so with that in mind, and bringing forth his very first solo album to boot, the always-smiling 'Last of Seven' musician took to the singular Michigan spotlight last night.

The Gospel-influenced 'Ripple In The Water' is first up. A powerful piece of music, it literally shakes the cobwebs off the audience and he alike and prepares you for the following 90 minutes of music. “Raise Your Hands” is next and features both the aforementioned gospel vibe, a synthesizer, and some programmed beats that thankfully are well restrained. Lit in blue, 'Great Escape' is next quickly followed by the Train hit 'Meet Virginia.' Mysteriously featuring an all-out rock guitar solo from Luis Maldonado - complete with a playing-it-behind-the-head stint - the now bathed in red track has been wrung dry before the bouncy 'Someday' is sung.

'Two Ways To Say Goodbye' is next up and as he's asked to get the Led out by some front row patrons, he jokes that he should actually record a cover album sometime soon. 'She's On Fire' from the Drops Of Jupiter album is next, inclusive of a human beat box midway break, but it's the album track 'All American Girl' that really kick-starts the show again.

The Argent cover 'Hold Your Head High' leads into a story told by Pat of an ex-girlfriend named Peggy that lives here in Royal Oak, before one of the most amazing things I have ever seen performed live is undertaken: Pat sings acoustic, sans mic and backing, the track 'Midnight' to an absolutely gob smacked audience! Following that with a smoking rendition of Stevie Wonder's 'Superstition.' the man is on fire at this point and continues onwards with his falsetto version of Aerosmith's 'Walk This Way.'

Set filler 'Girlfriend' is next, before a beautiful duet with his female backing singer Sakai on 'Pirate On The Run' brings everyone to the same conclusion: clap rapidly! Another set filler in 'Thinkin Bout You' is next, before the well-received 'Drops Of Jupiter' is sung to a very happy crowd. The new album's lead single “Her Eyes” carries us nicely into the first encore track 'When You Are Near,' before Zeppelin's pounding 'Whole Lotta Love' is played out. Complete with Maldonado's searing guitar riffs, and even Monahan center stage on toms, the set eventually closes with the rapturous 'Oh My My.'

As everyone and any one know, the 48-year-old British vocalist - who came to fame as the leader of legendary modern-rock troupe The Smiths - isn’t known for delivering the most uplifting of evenings. Showing short clips of long-lost weird dance videos, some Elliot Ness reels, along with the wardrobe tests for 'East Of Eden' (and featuring a very sombre/silent James Dean), even before Morrissey took the stage a computerized british voice began listing such seemingly random things as rape, the death of the rainforest, Tiananmen Square, many British TV shows, Nelson Mandela’s imprisonment and Jesse Helms.

Things didn’t get any brighter once the man of the hour actually took the stage either. Morrissey went on to give the crowd songs filled with despair and isolation, complemented by tunes brimming with darkness and trouble. He sang about how bleak it is today and, for the most part, that there isn’t much hope for tomorrow. Good ol' Morrrissey ... at least he hasn't sold out his values to the nu pop generation!

Mind you, the crowd loved every moment of it!

Performing with a five-piece band in front of a backdrop of (a young) Richard Burton's face, Morrissey began spreading the bad tidings and no cheer with the very first offering, The Smiths’ 'Queen is Dead,' as he repeatedly howled out the lyric, “life is very long, when you’re lonely.”

As you can see, Morrissey isn’t for everyone. But he sure worked for this crowd. The audience acted like they were witnessing true greatness as the singer continued through “The Youngest was the Most Loved,” “You Have Killed Me” and “All You Need is Me.”

The crooner was in fine voice, whirling his mic chord around like he was trying to swat a gigantic fly, whilst at the same time exhibiting a vocal range that never even blonked an eye at exhaustion. Between songs he even showed a lot of chatty warmth with the crowd, referencing the ongoing Ellen DeGeneres dog saga, his depressing music, and his desire to have a cigarette mid-set.

As expected, the second half of the 90-minute set featured many of the singer’s best-known works such as The Smiths classic 'The Boy With the Thorn in His Side,' 'Everyday is Like Sunday' and 'How Soon is Now?' As the 30th plus song finally brought the set to a close, Morrissey ended with 'First of the Gang to Die' - featuring the memorable words: “You have never been in love until you’ve seen sunlight thrown over smashed human bone.”

Morrissey - with nurmerous shirt and T-shirt ("Je Suis Morrissey") changes throughout the soaking set - is one artist who may never be, or at least never sound, happy. And for some reason that the rest of us outside the cult may never understand, that makes his fans (such as I) ecstatic!

After nearly a decade off the scene, Loreena McKennitt returned to the performance and recording stage in 2006 and 2007. The Canadian singer picked up exactly where she left off, traveling through the Celtic-Middle Eastern fusions she explored on 'The Book of Secrets' with her latest studio album, 'An Ancient Muse.'

Coming to Detroit on her current tour in support of last year’s An Ancient Muse complete with a decadent tapestry backdrop, oversized candle cages, and an inspired nine-piece band, the concert was a fine return to form for the Celt-inspired, yet Canadian through and through singer.

As the lights dimmmed on the sadly only one-third filled auditorium, the 'blue' smoke that once sat on the still stage now started to quickly twirl and rise as first Loreena and then the rest of her band came out onto the stage.

And so began a quite enchanting musical performance - broken only by a 15 minute interval - that was as much spellbinding as it was magical. From the moment she sits next to her harp and begins to gently strum it, the audience is captivated, mesmerized, caught in the ethearal glare of an impossible talent. "Thank you very much," three songs in she finally addresses the audience. "This theatre you have here is a beautiful piece of architecture", she continues, paying comment to the restored Fox Theatre.

Harp, cello, fiddle, hurdy-gurdy and acoustic guitar share space with oud, bouzouki, lyra, tabla, bodhran, stand up bass, kit drums, hand drums and electric guitar. If it seems an impossible task to fit this diaspora of instrumentation into a single song, McKennitt rises to the challenge. Each composition is a carefully researched work; the end result of her deep interest in all things Celt. As she herself explains, in one of her few - but long - chats with the audience, she traced many Celtic roots along the Silk Road, delving into the landscapes of Turkey, Greece and Spain along the way.

As she is something of a perfectionist, there isn't much deviation from the original studio versions, but McKennitt is in fine voice and the band even gets to rock out a few times on tracks like "The Bonny Swans," where violinist Hugh Marsh and guitarist Brian Hughes trade increasingly frantic leads.

Overall, the 2 1/2 hour show was a heady mix of the intellectual, the mystical, and some hot rock concert-worthy solos. After all, it’s not every day you see a musician finesse both the Irish bouzouki and electric guitar in the same song!

Once a bubble-gum pop star in the manner of early Jessica Simpson and Britney Spears, Mandy Moore now works to be thought of as a maturing singer and actress.

Hip Hop, Booty, Dancehall and Electro. If you want to rock to these tunes and more, then Saint Andrews Hall in downtown Detroit is where DJ Godfather and Paul Martindale perform.

So, put the two described entities together and well, you get imagery that - at least from the moment both worlds collided at 9.30pm - looked and felt like something out of a comic book day dream sequence!

As the All-American pop singer, songwriter and actress took to the small, cramped stage with her four-man backing band, it was clearly obvious that she was not exactly thrilled to be there. As the opening chords of 'Slummin' In Paradise' were cranked out, Moore looks first around the dark, barely lit stage, then at her guitarist. Both times possibly in search of some positive acknowledgement for what she was undertaking on this her (surprisingly after all this time) first ever solo tour!

Somewhat strolling through that and both 'All Good Things' and 'Looking Forward,' it was finally time to greet the 170-strong, hot, sweaty audience. "What's Up, Detroit? We are so excited to be here. This is my first proper tour." Asked by a fan to recite any line from her movie 'Saved,' she freely admits she knows none - until prompted further. "Oh yeah ... I just crashed my van into Jesus," she laughs.

Dressed very causally in a free-flowing, various shades of brown ensemble, the girl that was once trying to outmaneuver fellow junior glamazons Britney, Jessica, and Christina is now more than comfortable in her own skin. Whether it be an acting one or a singing one is still up for discussion. But her voice and stage presence do both get stronger as we head into her wonderful Cat Stevens cover of 'Moonshadow.' This was quite easily one of the top two performances of the night and fully deserved the rapturous applause it received. Although, the fact that anyone in the vastly eclectic Emo-induced audience would know it was a Stevens’s original is neither here nor there.

The arrival on stage of her sometimes co-writing partner - and tonight's opening act - Rachael Yamagata brings forth the tepid 'Ladies' Choice,' but the ultra sensitive title track, 'Wild Hope' (sung under pale green lights) is definitely another set highlight. A snippet of a funky new tune they are all working on is well received, and good, but is over all to quickly before bleeding into 'Extraordinary.'

A cover of Joni Mitchell's 'Help Me' is spot on perfect, and although obviously not a challenge does seem to start to bring some more comfortability to Moore's stage dancing in those instrumental break moments. "I just started playing guitar a few weeks ago," she next admits, her body already adorned with said guitar. "So, don't watch me play, watch them," she pleads before sleeping walking her way through 'Few Days Down.'

But it's as she announces the next song 'Can't You Just Adore Her?' (whilst freely admitting that "It's the angriest song on the album 'cause in my mind, all men f**kin' suck!") that she finally gets the crowd's vocal levels raised. Quite easily the loudest song of the night, she moves swiftly from that to 'Nothing That You Are' ... before everyone mysteriously (and quickly) leaves the stage.

Moore comes back and along with her keyboardist brings us the somber tones of 'Gardenia' before being rejoined by the rest of the band once again midway through. A vastly different, yet incredibly worked ballad version of Rihanna's mega hit 'Umbrella' is pulled out of nowhere and is an instant hit with everyone. Ending the night with a song that is an obvious embarrassment to Moore to still have to play - given that she was 15 at the time when she last probably sang it live on some Mall Tour - the teen dance beat vibes of 'Candy' are unleashed to the now in heaven crowd! Refusing to sing certain parts of the chorus, flirting awkwardly with teen dance moves that once accompanied the song, Moore is so visibly uneasy about the whole show-ending moment. And come its final beat, and with the what's left of the crushed-to-the-front-barriers crowd roaring their hoarse like approval for their idol, she and the band take one final bow and are off into the night.

Review & Photos by Russell A. Trunk

www.MandyMoore.com

Tonight, here at the grand Detroit Opera House there weren't any attendees sporting tuxedos or evening gowns; no diamonds and champagne flutes to be seen spending time together. No, tonight it was the chance for a Canadian singer / songwriter, record producer, and instrumentalist of Portuguese descent to pack the auditorium out ... with screaming young girls and overly-enthusiastic, and slightly-older boys!

Watching as the music struck up, and as a giant glitterball descended center stage, you kinda had this feeling that the diminutive musician could so easily have sprung forth from it. But, it wasn't until the ball was slowly raised back up once again that she was revealed to be standing behind it, back to the crowd, allowing the beats to begin their funky journey through her.

Sporting a short red dress with black leggings, and both shoes and belt in yellow, the songbird comes to greet her beloved fans, a genuine smile on her face that never, ever left the entire night. Kicking off with 'Say It Right,' ("Detroit," she announces. "How are you tonight?"} she quickly follows with 'Turn Off The Light,' 'Powerless,' and a red hot ("I've got a question for you. Do you feel like dancing? I do," she adds) 'Do It,' complete with her two female dancers attired in bright yellow '50s swimsuits!

Tapping into a cozy variety of musical modes such as '80s new wave, hip-hop, informal balladry, and of course world beats, she next brings us 'Wait For You' which bleeds seamlessly into red spot-lit 'Showtime.' Complete with dancers - with respect to both their moves and their costumes - that wouldn't look out of place at a Dinner Theater rendition of Guys & Dolls or even West Side Story, accompanied by just a guitar and tambourine, she brings forth a wonderful acoustic vamp of Gnarls Barkley's 'Crazy.' The track 'In God's Hands' is next, performed for the most part whilst she sits alone on the top step with a white spot illuminating her, before she freely announces that "Detroit was the first show that I ever performed. Thank you, Detroit", following her statement up with 'All Good Things.'

Joined front stage by singers Jasmine and Socrates, rousing renditions of Timberlake's 'SexyBack' and her own 'Give It To Me' (both complete with yet another costume switch, this time into an all-black affair) take the crowd's screams to a whole new level. "We're gonna go way back now," she herself screams, as the band strike up a new jazzy, nu-funk intro vibe to 'I'm Like A Bird' ... which, it has to be said, was clearly not originally built for such a pounding back beat. Lit by a pink and yellow set of lights, 'Blue Jeans' is next, complete with the addition of a disco-version of Blondie's 'Heart Of Glass.'

Nelly's ode to futbol [soccer, therein] 'Força' is next, complete with each of the four dancers kicking out plastic soccer balls into the crowd. At the songs end, Nelly signs - and kisses - a real ball and gently hands it over to a young child in the audience. Bringing the set to a close with a roaring 'Promiscuous,' she eventually waves gleefully goodbye, proclaiming as she does so, "Thank you Detroit. We love you."

To some very loud screams, Nelly's name comes up in lights on the large back drop. This is quickly followed by her arrival back to the stage wearing the last costume change of the night, a beautiful short purple dress for 'No Hay Igual.' Then showing off her infamous musical chirping Vs. a drummer trying to keep up [which he did], she brings us 'Party's Just Begun.' Ending with a simply rip-roaring, stand alone version of 'Maneater' the finale song - full of exhaustive dancing, bright lights, colorful costumes, and so much more - it's all that this crowd needed to finally go home completely satisfied.

Review by Russell A. Trunk

Photos by Chris Schwegler

www.NellyFurtado.com

Stephanie Lynn "Stevie" Nicks is an American singer and songwriter of some great stature. Best known for her work with Fleetwood Mac - although a long solo career has also kept her in the spotlight - they collectively have produced over twenty Top 40 hits. As a member of Fleetwood Mac back in 1998 she was inducted into the Rock and Roll Hall of Fame, but all those years on since her halcyon days as Mac's gypsy rock goddess she once more brought her musical magic to us all.

Just past 9.00pm, and yet with the evening daylight still quietly evident all around, the band make their way on stage and begin to lay a musical foundation. Then to the guitar strains of 'Stand Back' Nicks appears from out between the two drum sets, a few wafts of stage smoke adding to the illusion that she had quite simply appeared out of nowhere!

Dressed in her requisite black, her blonde hair cascading down her shoulders, she sings and twirls her way through the song, inciting rapturous cheers from the close to capacity crowd, ending it with a high kick. "Welcome, everybody. We're here tonight backing up the new release 'Crystal Visions'," she pays mention to, adding "Thanx for staying with us all these years") before seamlessly flowing into 'Dreams.'

Introducing her 1983 solo hit 'If Anyone Falls' as a song "... inspired by something someone once said to me," bathed in a purple spot Nicks' familiarity with each song allows for them all to come across with such a beloved grace. A lovely piano intro precedes 'Rhiannon,' which also made time for a quick outfit change, before the backdrop suddenly begins to show black and white drawn images of an Angel for the rootsy gem 'Enchanted.'

Introducing 'Sorcerer' as a tune she had written back around the time (and record label confusion) of the Buckingham/Nicks sessions, it may not have been all that well-known to the crowd, but they loved it all the same. The classic 'Gold Dust Woman' - complete with images of mystical women and dancing lights flickering on the backdrop - was next up, a sparkling golden shawl now around her shoulders. The rousing 'I Need To Know' ("... a song written by my favorite rock star, Tom Petty") follows, before the musical tone is brought way down for the ubiquitous 'Landslide' - complete with accompanying photos of her late father on the massive back drop.

Quickly introducing her band, whilst at the same time desperately trying to dislodge an unfriendly mosquito from her throat, Nicks then allows the tom toms to be gently beaten, before the drums get their turn, lastly both making way for the lead guitar intro squeals to the sexually charged groove of 'Edge Of Seventeen' to be brought lovingly to the fore.

Having disappeared off stage for an unofficial encore - and yet purposeful further costume change - she quickly returns adorned in a white ruffled dress and black tails with fringe. Atop her head is her stylish black hat complete with colorful feathers. Conducting her usual meet-and-shake at the front of the stage, handing off many single roses and cards, Led Zeppelin's 'Rock and Roll' is sung loud and proud ... with Detroit's own cigar smokin', wifebeater-wearin', vocal-less Kid Rock accompanying her on tambourine.

Wrapping the show up with 'Beauty and the Beast,' a dramatic ballad accompanied by arresting black-and-white images from Jean Cocteau's 1946 French film, Nicks' still-soaring vocals were truly put to the test one last time ... and past with flying colors.

Review by Russell A. Trunk

Led by British journeyman rocker Mick Jones, rock band Foreigner formed in New York City in 1976, and vocally helmed by then unknown vocalist Lou Gramm managed to bring forth a debut self-titled album that sold more than four million copies in the US and stayed in the Top 20 for a year.

In 2003, and after many band member back-and-forths, Lou Gramm once again left Foreigner leaving Jones - now the only remaining original member of the band - to reincarnate Foreigner one last time.

Tonight's line-up has now been together for the past two years. Touring and recording along the way, they have gelled well and showed tonight that if this was to be the last incarnation of Foreigner that they had truly struck gold. With a young Steven Tyler lookalike in the form of Kelly Hansen now in to replace Gramm as lead vocalist, ex-Dokken bassist Jeff Pilson, early '90s Foreigner stalwarts Jeff Jacobs (piano, organ, keys) and Thom Gimbel (sax, guitar, flute), not to mention the Son of Bonzo (his words after the show!) on drums, Mick Jones' Foreigner circa 2007 came to show the public - and us jaded journos within the business! - just what they were made of.

Kickstarting the night with a rousing 'Double Vision,' one look around the open air pavilion showed that some faces were quite clearly confused by Hansen's presence. The absence of Lou Gramm obviously not having filtered through to them these past few years, it only took but a couple of choruses through the first song to both understand the situation and wholeheartedly accept Hansen.

With a more subdued Mick Jones on guitar - stage presence wise - Hansen prowls the large outdoor stage alone. 'Head Games,' 'Cold As Ice,' ["Hello, Detroit," exclaims Hansen. "This has to be the world's greatest rock 'n roll city. We're so happy to be here tonight"], 'Blue Morning' [lit by a pale blue light] and 'Waiting For A Girl Like You' are all sung with vocal passion that incredibly, majestically exudes a late '70s, early '80s Gramm.

A very powerhaus version of 'Dirty White Boy' is next up, which after his guitar solo has been performed seems to leave Jones somewhat out of breath. A newly-reconstructed 'Say You Will' is next that brings Bonham, Pilson and Gimbel to front stage as harmony providers to the now more laid back, unplugged if-you-will track.

Introduced by Jones ["It's great to be back here. We're gonna go back to our first album now."], a classic rendition of 'Starrider' is next. And although Jones' vocals have never been all that strong, his guitar work is - as usual - formidable. 'Feels Like The First Time' fires us straight back to 1977, before a guitar first, then keyboard, then drum intro to 'Urgent' [complete with a sax break that instantly brought goosebumps to the arms!] nearly brought the house down! In it's extended form it was simply incredible to listen to live after all these years.

But, if that was something to behold then what came next was just the musical cherry on the cake! With a keyboard opening that slipped carefully into a strong drum solo, which all finally culminated into a Jones solo, suddenly the pulsating opening beats of 'Juke Box Hero' were brought to the baying masses. But it didn't end there as halfway through - and courtesy of some monster drumming from the Son of Bonzo - the Led Zeppelin track 'Whole Lotta Love' slipped its way in for a few brief verses! With every word sung by an adoring crowd the track sublimely made its way back to 'Juke Box Hero' before bringing the set to a close on one hell of a high note!

Coming back out the band bring us 'Long, Long Way From Home,' before Hansen goes into Preacher mode for a bluesy-gospel version of 'I've Got Whiskey.' This quick musical interlude is quickly followed by a Preacher-inspired 'raise up your voices and sing' moment where Hansen asks for the crowd's vocal participation on 'I Want To Know What Love Is.' With Hansen's voice now slightly suffering from the nights work, his endless stage prowling probably winding him more than he expected, the show-ending 'Hot Blooded' [complete with Jones intro under a bright red spot] is sung to the still-excited gathering. "Thanx for coming out tonight," Hansen proclaims, as the red / yellow / orange-lit band bring the final bars of the song to an end ... along with the powerhaus of a nights performance.

Review by Russell A. Trunk

Often compared to the Scissor Sisters - which, to be fair is, well, quite fair given their comparative vocal and bass line moments - Under the Influence of Giants (sometimes abbreviated UTIOG) hail from LA ... and boy, do they come packed full of energy!

Mysteriously opening for an artist known only as Young Love - and tucked away in a basement club with no windows, seemingly no adults in the small crowd, and no air to breathe in the slightest - UTIOG take the stage bang on time ... and literally do not come up for air until a solid 45 minutes have flown by!

Taking the stage one by one, there are no stage theatrics (I mean, how could there be on a stage no larger than your own bathroom floor?!), but as soon as the quartet is situated, well, ... Ladies and Gentlemen, buckle up, for it's gonna be a rockin' ride!

Aaron Bruno's vocals (and therein lyrics) are incredible, honed, and primed for this small club performance tonight. 'Lay Me Down' kicks us off royally, but it's David Amezcua on bass - dressed in a Wasp shirt with matching Wasp tie - that steals the show early on with this no-nonsense, head banging bass licks! Drew Stewart on guitar - looking everything like a Nu Romantic from circa '84 - is also finger-lickin' hot tonight, but as much as he tries, his floppy locked quiff just won't give as much as his bass-playing cohort! Drummer Jammin' Wilcox seems to be the only one not dressed too out of sorts and just stays attune to what needs to be done - and not only drum backbeat wise but computer track intro wise also.

The poly-rhythmic groove of 'Got Nothing' hits us next ("Feel free to dance and get loose," Bruno informs the scattering), which is quickly followed by both 'Beautiful and the pulse-pounding 'Ah Ha.' The latter finds Bruno prowling the small stage, like some demented squirrel in search of its lost, once stored-for-the-winter, sack o' nuts!

The incredible ethereal falsettos of Bruno are then brought to their main glory on the beloved 'Mama's Room,' before a seemingly Rage Against The Machine-inspired track is sung - admittedly to a somewhat confused gathering! But the guys get back on track with 'Faces' that also comes complete with a quite-nearly thrashing finale chord meltdown!

Wrapping up the show with the blue-eyed R&B feel of 'In the Clouds,' Bruno and company take their well deserved bow, heartfelt thank you's are heard abounding, and then they are gone ... until they quickly resurface again at the merch table!

Review by Russell A. Trunk

www.utiog.com

Amazingly true, Eric Clapton is still on a World Tour that started in Europe on May 5th, 2006! And yet tonight, in front of a sold-out 32,000 packed house he seems fresh, happy, and far from road weary.

At 8.40pm Clapton's band members - including the electric and multi-talented Doyle Bramhall II - took the stage, followed quietly, and yet eagerly by the man himself. Heading immediately for the sanctuary of his center stage large Persian rug, the thunderous applause rings out and as people get out of their seats and onto their feet, Clapton can't help but strike a random chord or two.

Lit by a backdrop of multi-colored standing lights, he immediately broke into 'Tell The Truth,' followed by a cool version of 'Key To The Highway' from his collaboration with B.B. King. Still without a word to the audience [all he ever does say is "Thankyou" a handful of times!], he follows this up with the smooth 'Got To Get Better In A Little While' and then the Jimi Hendrix classic, 'Little Wing.' This was a truly wonderful moment with Clapton putting his own blues stamp on what has always been a classic in its own right.

Bathed in blue lights for much of the evening (of course), his bluesy set feel made this a very settled, no-surprises event; and yet contained not one ounce of generic feel to it. Sharing the musical spotlight with his band of merry men - a truly great cast of touring musicians, if ever there was - he lets them have their own extended solo moments; whilst the proud 'papa' leans back and contentedly jams along in the 'background.'

Indeed, every member of his band was highly impressive, but it was his shared mic and guitar chord time with the always-tight Doyle Bramhall II that was the true comfort zone of the gig. And where Willie Weeks on bass, Steve Jordan on drums, and Chris Stanton and Tim Carmen on keyboards were also at their finest, it was these two front of stage that kept the motor purring.

Continuing on and before the sit down acoustic set the wonderful 'Why Does Love Got To Be So Sad?' is brought forth. And then, as expected, Clapton takes a seat all alone and brings us an acoustic version of 'Driftin' before he's rejoined in this setting by some of the others for such songs as 'Outside Woman Blues,' 'Nobody Knows You When You're Down And Out' and 'Running On Faith.'

Steering the EC set into its final bend, another highlight was hearing the old song 'Motherless Children,' quickly being followed by 'Little Queen Of Spades' and 'Further On Up The Road.' But, just when you were fearing the worst for those classic Clapton hits, out of nowhere he strikes a few gentle chords and 'Wonderful Tonight' is upon us. Indeed, no sooner has the last chord been struck on that song before a deeper, harder one is struck for the opening of 'Layla.' Bringing a severe chill to course down my spine, seeing and hearing it played live is something I'll never, ever forget.

Coming back out after a delay of a few minutes, the first encore played is the classic 'Cocaine' - a heavily extended version, at that! - which everyone sang along to. This is then followed up by Robert Cray joining in and taking lead vocal for the final song of this one hour and 40 minute set, 'Crossroads.' Put plain and simple ... 'Slowhand' still f**kin' rocks!!

Review by Russell A. Trunk

Photos by Carlos E. Moreno

Having met at the University of Dundee in Dundee, Scotland, students Gary Lightbody and Mark McClelland started up a band (originally named, believe it or not, Polar Bear!) and in late 1995 began performing gigs at the University and surrounding pubs. However, due to legal threats from an American band with the same name, they soon became Snow Patrol ... and thank God for that, 'cause (and let's be honest here) how many fans would flock (or admit to flock) to see a band named Polar Bear?!

Taking the stage at 9.30pm, having had L.A.’s Silversun Pickups and the highly-impressive Ok Go open for them, the Scottish-Irish quintet known as Snow Patrol - Gary Lightbody (vocals, guitar) Jonny Quinn (drums), Paul Wilson (bass), Nathan Connolly (guitar,) Tom Simpson (keyboard) - know how to rock the house; from the very first chord struck to the very last one plucked, left to infiltrate the night.

Backed by a black backdrop of stringed-together bright white lights and some crazy-spinning color strobes, Lightbody and Co. - now bathed in a deep red rush - introduce 'Spitting Games' as their first song of the night, neatly followed by 'It's Beginning To Get To Me.' Commencing the first of his many chats with the crowd, Lightbody tells everybody that, "It's good to be back here in the heart of Motown. We've been listening to Motown songs all day in preparation, so expect the rest of the show to just be all Motown songs," he jokingly ends, before breaking into 'Chocolate.'

Then revealing a story about Ok Go's lead singer, Damian Kulash's recent hard slap on his "fragile Irish arse," the Snow Patrol spokesman quickly moves into more music with both 'Grazed Knees' and (under the aura of bright yellow spots) 'Headlights On Dark Roads.' 'Shut Your Eyes' is next up followed by a song sung to the "mean-faced" security guard at front stage, 'Wow.'

The new hit 'Chasing Cars' is next - including Lightbody's question to the audience about what face to put on for a lite rock out to the slow, semi-rock chords towards the songs end! - and then 'How To Be Dead,' 'Make This Go On Forever' and 'Somewhere A Clock Is Ticking' all come banging out of the gate. However, it should be noted that just prior to this trilogy of songs that their (male) drum tech comes out dressed as a B-movie hooker (self-named 'Solonge') and tries to make out with Lightbody ... as, after all, it was April Fool's Day!

As the show is brought into the final turn, for the duet track 'Set Fire to the Third Bar' (originally sung with Martha Wainwright), Lightbody chooses an already-known (from the gig the night before in Montreal!) young lady from the crowd to come up on stage and sing Wainwright’s part. Complete with a microphone and a pair of headphones she matches Lightbody word for word, lyrically tone for lyrically tone, never dropping the merest of chords or breath.

The ever-popular, and always-requested anthem song 'Run' is next - complete with mazy, erratically-flashing strobes that light up (geddit?!) the entire stage and crowd therein (so much so that if you had been an epileptic you would have been in fits of shock like you'd never felt before!), before bringing the set to a close with the piano introduced 'You're All I Have.'

Coming quickly back out for both 'Open Your Eyes' and the wonderful 'Tiny Little Fractures,' the show is finally over, the sold-out crowd now blinded by the house lights, all resigned to heading home, mountains of tour merchandise in hand. Unless you were like the lovestruck Daniel Marshall and chose to fly back to Kansas City the morning of this show, then you too missed the whole bloody thing!!

Review by Russell A. Trunk

My Chemical Romance - or as incessantly chanted by the crowd, the shortened MCR - is what we call in the trade an American Alternative rock band. Hailing from Belleville and Kearny, New Jersey, except drummer Bob Bryar, who is from Chicago, Illinois, MCR - and front man Gerard Way in particular - are heavily influenced rockers; performance artists of the highest caliber. With musical winks to The Misfits, Queen (thank you, Mr. B.) and even Adam Ant; and stage theatrics akin to horror films and comic books, Way's storytelling is top notch at all times.

With the entire set hidden behind a huge black drop cloth, the lights go down, the screams go up, and amongst all the chaos Way is wheeled in on a gurney underneath a white sheet. Once center stage, and with the apparatus now blinking red lights by the dozen, the chords (and medical equipment beeps) for 'The End.' are brought forth. Then, as if springing back to life, Way is singing the opening words whilst rising corpse-like from beneath the sheet.

Once those theatrics - and the rise and fall of two oversized black-and-white blimps - are out of the way, The Black Parade (for as they announced more than once, not MCR - two different bands entirely, just with the same members; and a severe case of white face make-up!) take the show on a 13 track, 100mph expressway joy ride. And for those that don't know, whether you were there or not, The Black Parade performed the entire Black Parade album in chronological track order! So we get everything sung from 'The End.' to 'I Don't Love You', and from 'House of Wolves' to 'Famous Last Words.' All sung by a band all uniform in their short black-and-silver jackets: akin to looking like Goth bellhops!

The building may have only been two-thirds full of cheerful teenagers, singing along to every funereal word, but the intensity given by both band and audience was incredible. And with Way being the sweetly solicitous ringleader supreme - a man clearly happy to be singing these grand emo songs in the place they really belong: an arena - it clearly didn't matter to he or them about the obvious lack of filled seats. Accompanied most all times by memorizing strobe lights, booming end-of-song explosions, and a pyro show that would have had Great White running for the doors, Way is always appreciative of the sea of bodies in front of him: "Welcome to The Black Parade and thank you for coming to our show."

In a way that worked for Green Day, given the oddball song structures and dramatic influences that The Black Parade is built on, the sense that this was some form of emo-musical for the disenchanted worked for The Black Parade / MCR / Whatever too. Even with its piano opening, the bombast of 'Welcome To The Black Parade' culled with the beat-swaying, cell phone lit (ala fireflies) unity of 'I Don't Love You,' to the pure rock 'n roll flavored 'House of Wolves' to the mini-opera (Kinks/RATM-style) of 'Mama,' all goes to prove that concept albums about the trip toward death might just be the new norm!

With their finale song 'Famous Last Words' sung, and the recorded words of 'Blood' now pounding through the speakers, a short intermission later and the band comes back out - dressed differently, although each member still swathed in their choice of black. Now freely announced by Way as MCR they return to play several songs from the album 'Three Cheers for Sweet Revenge' - a new guns and revenge logo back drop now in place behind them.

Playing such songs as 'I'm Not Okay (I Promise),' 'It's Not A Fashion Statement, It's a Deathwish,' the ballad-introduced 'The Ghost of You,' the band now known as MCR are just as focused, just as ready to rock. Finally bringing the entire show to an end with both 'You Know What They Do to Guys Like Us in Prison' and 'Helena,' Way thanx the audience once more for their love and support, waves fervently goodbye, and then disappears into the darkness beyond.

Up-and-coming (to the US of A, at least) Brit band Starsailor -personally hand picked by main act James Blunt to open up for him on his return North American tour - arrived to the stage tonight quietly, pensive, yet obviously self-confident.

At 7.30pm on the button the lights go down and the band - that sell out their UK tours quicker than a moth finds a flame - began their 40 minute set. Opening with 'Counterfeit Life,' the quartet from Chorley, England don't smile much but man their sound is solid.

"Good evening, Detroit," lead singer James Walsh speaks before the second song. "We are a band called 'Go Tigers!' Well, that's what it says on the front of the theatre anyway," he laughs. [Note: The reference is due to the Detroit Tiger's home baseball stadium being located directly opposite the venue!] The sad lament of 'Alcoholic' is next up, before 'Get Out While You Can' is brought next to the fore.

"It's good to be back," Walsh speaks once more. "The last time we were here was with The Charlatans." Greeted by absolute silence save for one lone clap to their right, he adds, "Well, at least he knows who they are!" 'Hold On To What You've Got' is next, but it's the lack of stage bells and whistles that are really starting to impressive the still-filing in audience. Starsailor just want to rock, just want to impress with their sound, just want to play.

Introducing the next song to have been their #1 smash hit in France, 'Fall To The Floor' is sung, before both 'Keep Us Together' and 'Good Souls' lead us to the final song of the evening. "Thanx for being a great crowd for us tonight," Walsh finally mentions before the Phil / Nicole Spector-inspired 'Silence Is Easy' brings just that to the proceedings ... silence!

Review by: Russell A. Trunk

Always a noted and well-respected dobro player, Jerry Douglas' new album, The Best Kept Secret shows a different side to his wonderful instrumental style. And here tonight at the wonderful, and acoustically perfect Fox Theatre in Detroit he brings proof positive to the fore that such a multi-talented composer/producer/and non-singing musician can indeed bring an audience to its feet in appreciation.

At 7.30pm on the button the lights go down and Jerry and his four other musicians quietly take to the stage. Warming up with the first song, they all begin to find each other with 'The Wild Rumpus.' "How y'all doin'?" Douglas genuinely asks. "We're gonna play some songs while you find your seats. Seat-finding entertainment is what it is," he jokes, to the audiences amusement.

Whether they be bathed in blue, red, or yellow lights, the seemingly tightly cramped together band (found center stage of what was to later become Paul Simon's set) played their music as if there were royalty in the house. A sauntering cover of Weather Report's melodic '80s hit 'A Remark You Made' is next and as a purple glow descends upon them Douglas (who is quite possibly the undisputed master of the shimmering Dobro at this time) begins to musically freewheel his way through the set's penultimate song.

"Thanks for listening to us," he ventures forth. 'And we've got one more song to play for you." Ending the set with the highly-impressive, fast-paced and fiddle-influenced 'Who's Your Uncle,' the yellow lights add a warm glow to his shiny Dobro as it springs to dizzying life one last time.

Although the band’s name may suggest a sudden vanishing, the (at times) PG-rated nu-metal music of Evanescence continues to belittle anyone's gripes that it has no place in our modern world. Fallen, the Wind-up Records debut from this talented group from Little Rock, Arkansas, was an emotional, ethereal work of undeniable potency guided by the heavenly vocals of Amy Lee. Their new release The Open Door continues the prophecy, taking it to a whole new level - a more melodic plateau, if you will.

One by one each band member of Evanescence takes to the darkened stage. To the throbbing guitar beats of album opener 'Sweet Sacrifice' - and the collective screams of the sold-out crowd - Lee casually walks out last of all. With the mic gripped firmly between her hands, her stare out into the sea of fans ice-like; yet friendly, Lee is the working persona of the goth girl ready to kick some musical butt!

Framed by the seas of red and purple lights alike, 23 year-old Lee's vocals suddenly match the pounding beats of the guitars as the band set off into their one hour set. Dressed in a tight black wife-beater with tartan skirt/wrap over black-striped sheer stockings, 'Weight Of The World' is next. Then, just before 'Going Under' Lee thanks the crowd for making them #1 with their new album.

As the stage lights change from red and purple, to green and blue, to blue and red, Lee's passion remains adamantly rigid. She controls the mic, the crowd, the band, all in a silent manner that oozes confidence beyond her young years. The machine-gun drum and bass guitar beats continue on throughout both 'The Only One' and 'Haunted,' the more melodic 'Whisper' follows, but as the piano is brought out for 'Lithium' it's then; and whilst bathed in lime green lights that we truly get to hear Lee's vocals at their non-screamed finest.

With her long, flowing black hair tied back; and entire band off stage, Lee thanx the crowd for knowing all the words to the new songs before quietly launching into the beautiful 'Good Enough.' With the band back on stage they give us both 'Call Me When You're Sober and 'Imaginary,' before the barn-stormer 'Bring Me To Life' - which unfortunately without Moody's growls entwined meant that some life was indeed still missing from the song! Ending the set with new track 'Lacrymosa,' the band moves quickly off stage to prepare for the two-song encore.

Huge strobes are sent crashing around the stage as the band come back and the beautiful crowd-pleaser 'My Immortal' is brought forth. Bringing the night to a close with 'All That I'm Living For,' the show is finally over, everybody able to breathe once again; the merch stand hit like a pack of rabid dogs had sought refuge there!

It was a hot day in Royal Oak, but the heat outside was nothing compared to the heat brought about by the moshing masses of young souls inside the Royal Oak Music Theatre. There were three tiers of fans present and attentive, waiting for Unearth to take the stage.

Unearth has come a long way from Massachusetts. Appearing at Ozzfest earlier this year and now on the road with "The Sanctity of Brothers" tour. The group has just put out the long awaited follow up to their 2004 release. III: In The Eyes of Fire, has been accepted well by the fans who have gathered at the concert hall tonight.

The band steps out as a group and immediately the energy in the room ignites. The band encourages the crowd to keep the energy up, Trevor Phipps (vocals) opening his arms to the crowd for a moment as if asking for more. As everyone takes their positions on the stage the crowd seems to make room for an expanded circle of moshers.

They start the set with "So it Goes", and at the first sound of the duel harmonics coming from the band’s guitarists Buz McGrath and Ken Susi, the crowd is wild. There are fists swinging and legs kicking and it would be difficult to count just how many bodies make up the erratic mass. There is a moment, when the song begins to breakdown and the bodies all seem to reach an agreement, moving in unison to the commanding beat.

Next up is a song from their 2004 release Oncoming Storm. It’s "Black Hearts Now Reign" and the crowd acts as if there were no break at all, continuing to move, simply adjusting to the new melody. A few screams of appreciation can be heard during the first few chords and the band continues to rock with brutal efficiency.

It isn’t long before the band gets around to playing "Giles", the first single off of their new album. The adrenaline in the room is almost tangible, working it’s was to every fan as the crowd favorite fills the room with the aid of blasting amps. One thing can be said for sure, and that’s that the band and the crowd alike are a no-sell out bunch. Sticking to their guns and creating a perfect hardcore show. By the time the breakdowns come around it’s almost a relief to see the crowd slow down their pace.

It is a well rounded show with songs from not only their new release, but it seems they have made an effort to include at least one song from every release to date. They go as far back as 2001's Stings of Conscience with "Stronghold". Appealing to the fans who have followed them through the years.

They end the night appropriately with "Sanctity of Brothers". The crowd hasn’t stopped once, and with the knowledge of this being the last song of the night the fans seem to pull on all of their reserves of energy and pool it out to end the night with the most electricity yet.

Leaving the Royal Oak Music Theatre, the buzz of a concert freshly ended in my ears, I find myself un-ready to head home for a night of solid sleep. If anything the experience of an Unearth concert provides me with the desire to do nothing more then to go back in, and do it all again.

I wasn't sure what to expect as I waited for The Vacancies to begin their set. I had never heard them before, but the simple knowledge that they had worked with such greats as Joan Jett had my hopes high. The atmosphere was buzzing as many fans were already pumped up for the concert.

The band came out all in a row. Billy Crooked (vocals) led the bunch, followed closely by Bo (bass), Michael James (guitar), and Angelo Merndino (drums). The members were pumping their fists and yelling to the audience as they made their way into position, causing the audience to shout back, and pump their fists in turn. It was only a few moments before the band began to play "Radio Revolution". My expectations were not only met, but surpassed.

Remember when punk bands actually shared opinions as opposed to the chaotic tantrums they tend towards today? Well, The Vacancies remember too. We were only about three songs into the set, and already I was converted to a fan. Their songs were themed toward anti-political sentiments and general stand-uppery. Not only did they get the point across but they did it with catchy harmonies and a Sex Pistols attitude.

"DETROOOOIIIIIIT!" Crooked let rip before the band set into "Save Yourself". The audience was jumping and hyper and singing along. For every bit of energy the audience gave up, the band seemed to return, stomping their legs to the beat. Next up was "Leave it Alone" which only had the audience singing louder.

At no point did the energy stop. The band stuck to mostly songs off of their most recent release Beat Missing or a Silence Added, a fact that didn't seem to bother audience members much, if their participation in the concert was any indication.

They closed the night with "Hey Man" and everyone jumped up and down and shouted "WOO" in tandem with the catchy idiom in the song. If their philosophy is "Leave them wanting" then I would say it was adequately fulfilled. The audience stayed for a while after the set talking about the night and reliving the fresh memories. A newly converted fan, I immediately headed to their merchandise booth to snag a copy of Beat Missing or a Silence Added for myself.

It was a rainy day at the DTE music theatre, but the drops didn't keep fans from sticking around to see As I Lay Dying take to the stage. They were the last act of the night, following In Flames. First to step on the stage was vocalist Tim Lembesis followed by drummer Jordan Mancino. Clint Norris, bass, was out next, leaving guitarists Nick Hipa and Phil Sgrosso to join in tandem. "Hello Detroit!" Lembesis shouted before grabbing the mic from the stand.

They opened the set with "Meaning in Tragedy". Lembesis leant into his hand holding the mic as he pulled the lyrics seemingly from the depths of his soul while the band kept up a dizzying pace. The fans thrashed and nodded their heads in haphazard unison. Next out the gate was "The Darkest Night". Lembesis continued to scream the lyrics to the song with fervent passion, but fell back on a melodeath refrain, that the crowd had a good time chanting along with.

The band hails from California, home of the American underground Gothenburg sound bands. It has been argued that American bands with the Gothenburg sound use watered down versions of Iron Maiden riffs. As I Lay Dying is a testament that there is nothing 'watered down' about it. In case the first group of songs from the set didn't cement this into everyone’s mind, when "94 Hours" was played it sealed the deal, leaving audience members to thrash and nod their heads in haphazard unison while shouting the lyrics. It was obviously a crowd favorite.

The rain let up just as the band started in on "Confined". The audience showed their appreciation by getting even more into the music. What the band lacked in words they made up with pure stage presence, head banging and slamming away on their instruments with reckless abandon. It almost seems impossible that the band can unleash such frenzied riffs and melodies in such remarkable time while throwing themselves around the way they do. After finishing the songs one of the members is heard saying "Hey, it stopped!"

The last song of the night was, appropriately, "Morning Waits" as the sun went down on the day. After the song was all wrapped up the band thanked everyone for coming out and asked them to come again. Some members of the crowd begin to disperse while others choose to linger possibly hoping for an encore.

The set was short but they still managed to cover a lot of ground, playing songs from their new album Shadows Are Security as well as numbers from the older releases "Frail Words Collapse" and "Beneath The Encasing of Ashes".

As I Lay Dying played a gimmick free set, as opposed to what many of the other bands in the same genre adhere to. They played a genuinely entertaining show without the guise of fake blood or bile to distract the audience from the music. The impressive riffs and moving intensity are all the band need to put on a show that any hardcore fan would be pleased to attend.

Formed by a group of aspiring rock musicians from Harrisburg, Pennsylvania, Poison moved to Los Angeles, California in search of fame. Poison's music was characterized by relatively simple (but undeniably catchy) melodies and anthemic guitar riffs, way overblown hair, feminizing make-up, and frenetic stageshows.

To many, Poison was the epitome of glam metal; for fans, this meant a straightforward celebration of hedonism; for critics, this meant music which was uninspired and unimportant.

Tonight, and with opener Cinderella first up and having torn through a tight set of their best-known songs such as "Fallin' Apart at the Seams," "Hot and Bothered" and "Don't Know What Your Got," anyone that had any doubts about Poison's ability to entertain a sold-out to the open fields gig was put firmly in their place!

With the Poison logo of 'XX' (20th Anniversary) high and proud as the back drop, the foursome took the stage one at a time, leading off with the hair metal anthem 'Look What the Cat Dragged In.' Dashed left right and center by the thin lime green laser rays emanating from behind the drum set, lead singer Bret Michaels - the consummate frontman if ever there were - keeps the party going with 'I Want Action,' their new cover of 'We're An American Band,' 'I Won't Forget You,' and 'Ride The Wind.'

Dressed in black pants, a Poison T-shirt with the sleeves cut off and his new trademark straw cowboy hat, Michaels in the ringmaster supreme out there. And sure he's put on a few pounds and sure his voice isn't quite what it used to be, but man does he make up for all that with a wickedly energetic stage presence.

Guitarist C.C. DeVille tears through most of the songs like he's clutching a chainsaw, but it's his moment in the spotlight next when just after throwing out a 'Catch Scratch Fever' riff he breaks out his Gibson Flying Vinto for two somewhat (in truth) meandering guitar solos. Then he's at the mic and singing a song entitled 'I Hate Every Bone In Your Body,' before a T-shirt changed Michaels is back and singing 'Cry Tough.'

Dedicating, as usual, 'Something To Believe In' to all the men and women of the armed forces, Posion then stomp their way through both 'Your Mama Don't Dance' and 'Fallen Angel,' before Rocket gets his moment to shine on the drums. 'Every Rose Has It's Thorn' follows and is then backed by a rousing rendition of 'Unskinny Bop' - complete with old photos of the band in their heyday!

Bringing the show to a close with the rip-roaring, and always highly-anticipated 'Nothin' But A Good Time' - which also includes a specially-written Motor City rap - they come back out for the encore with 'Talk Dirty To Me' and are then gone, for another year.

Review by Russell A. Trunk
Photo by Julio Jimenez

As my friend Raymond says: "Welcome to the musical concert!” Indeed, they were also the first words out of Ryan Miller, the lead vocals for Guster, as they took the stage. There wasn’t even a pause before they started playing 'The Captain.' Next up was the audience favorite 'Barrel Of A Gun,' which made the whole crowd get to their feet and count down with the band, “4, 3, 2, 1! When at the barrel of a gun!”. Miller took a moment to thank everyone for coming out before announcing that the next song had never been played live before. The surprise treat was 'Backyard' off of their '03 album Keep it Together.

The show was being held at Meadowbrook Music Festival in Rochester Hills, MI. It’s located on the main campus of Oakland college, and is only one of the many stops along Guster’s First Annual Campus Consciousness Tour. The weather was warm, but no one in the audience seemed to ming sitting outside for the chance to see Guster play.

After the first group of songs were played, Miller felt the need to address a group of fans near the stage. “Hey,” he said. “I feel like we should have a discussion. Just how wasted are you guys?” motioning to six people up front. The band began playing an off the cuff rendition of The Champs’ 'Tequila' while Miller continued talking to his inebriated fans. “Maybe you guys should take it easy,” he ended with before he continued on with the set.

Guster has a laid back indie rock sound. The music had me thinking of early 1960's Beach Party music ala Annette Funicello - with a kick. The image was completed with the sound of bongo’s coming from Brian Rosenworcel’s set, where he abstained from drum sticks all night. The bongo’s weren’t the only unique instrument on stage that night; We were also treated to the sound of the banjo, harmonica, trumpet, and slide guitar.

About halfway through the set Adam Gardner (guitar/vocals) shouted out “It’s Five O’Clock on a Saturday.” The whole pavilion was going wild, waiting for the next line that never came. “How many of you guys would be totally psyched if we started playing a sweet version of 'Piano Man'?,” he asked, leaving the audience to shout some more. “Fortunately, or unfortunately, I only know one song on piano and it’s this one” he finally admitted before triggering the band to start in on 'Manifest Destiny.'

The band isn't only talented but also very earth conscious. They took a pause to ask the audience to go speak to Reverb, an environmental action group, who had a booth set up at the venue. Gardner is actually the founder of this group, which will be following them through the entire tour.

All of the green talk came to an end when they played 'Ruby Falls' after which Miller congratulated Gardner on his trumpeting skills saying, “That’s the best ending of ‘Ruby Falls’ you’ve ever played man!” The enthusiasm was shared by the fans who were all shouting out “Good Job!”

“Our new record came out about a month ago,” Miller later told the audience. “I think Detroit was the first show we played. Right down the street from here. I don’t know if any of you were there, but if you were, Hello. Again. Thanks for coming to our show.”

After about an hour and fifteen minutes of good solid fun Miller announced that the show was coming to an end . . . possibly. “OK! This is the last song of our regular set, then we’re going to walk off stage and, I don’t know. If you clap, we’ll come back, if not, I don’t know.” The band then played 'Fa Fa' to wrap up the set. As the song came to an end the whole audience began to clap and shout, hoping to get an encore. The band made a huddle on the stage, seemingly in deliberation over whether or not an encore should be given. Before an entire minute had passed, the band was already throwing their guitar straps back over their heads, and positioning themselves behind drum sets. “OK. Thanks for having us back for the encore!”

The first song back for the encore was 'Lightning Rod' which was the most mellow song of the set thus far. The crowd was swaying with their arms up in the air. By this point the sun had gone down and the lighting made for a surreal atmosphere. They made a smooth transition into 'The New Underground' and stitched the whole thing up with 'I Spy.'

The crowd wasn’t ready to let them go yet, so when the band began to leave the stage there was a roar of sound that seemed to roll all the way from the back of the pavilion to the front. The wave of sound must have caught the bands attention because they decided to come back for a second encore. “That means a lot to us Detroit,” Miller admitted. “It’s true.” They then played 'Keep It Together.'

The night as a whole was all around good time. The music wasn’t oppressive or over produced. Guster is something you can kick back to at anytime to simply enjoy.

'Jeff Scott Soto to assume Journey lead singer duties starting on July 7th in Bristow, VA due to Steve Augeri throat infection.'

That was the news that greeted a shocked musical Journey nation. The knowledge that their newly-beloved Augeri was down and out for the count and was to be replaced by a completely different style of singer was definitely one to gossip about.

I mean sure during its initial 14 years of existence (1973-1987), Journey altered its musical approach and its personnel extensively whilst still becoming a world class band. But this was touring season 2006 and without Perry - and now without the tangential vocals of Augeri - how would the band sound?

Well, tonight in front of a packed open air audience - opening up for British giants Def Leppard - for the most part all the questions were answered.

Taking the stage unannounced, the smiling, black sunglasses-wearing Neal Schon grabbed his guitar and belted out the national anthem in his usual emphatic style. Come its finale and the rest of the band made their way to the stage. With Jonathan Cain introducing Jeff Scott Soto to the baying crowd, it was quickly evident that for the most part: 1) this was the first that they were aware that Augeri was not singing tonight, and 2) that they had no idea who Soto was!

With nothing initially being said between songs by any member of the band, Soto and co. veritably breezed through the short set - 'Stone In Love,' 'Ask The Lonely,' 'Edge of Reason,' 'Wheel In The Sky,' 'Who's Cryin' Now,' and 'Chain Reaction.'

Just before we enter into 'Lights,' Soto finally breaks his silence, "Thank you Detroit, for making this the best summer of my life." With Soto's vocal's not as fitted to these high-pitched lyrics as both Perry and Augeri, it was obvious that some notes were not going to be made. That was more than evident during both this song and 'Open Arms' as notes were attempted and yet failed each time.

But let's not take away from his stage presence as he definitely has one. Albeit completely different to that of Augeri, Soto prowls the stage, eats it up, covers it endlessly for the audience. And yes his hugging and stage theatrics with his 'new' band members is a little over the top, but he is just trying to fit in.

'Escape' provides us with the chance to appreciate his vocal strengths the best thus far, but with the bass music turned noticeably up higher than usual, it unfortunately drowns out a lot of his good work. 'Dead Or Alive' is next which Soto precedes to sing most of standing behind drummer Deen Castronovo, but by now the crowd is quiet, restless, perhaps mulling over for the hundredth time if Soto was indeed the right choice.

And speaking of Castronovo, man when that dude sings he SINGS! His voice on 'Faithfully' is pitch perfect and has everyone hands together in appreciation long after the song has ended. Perhaps HE should have come front stage to sing on this tour?! 'Don't Stop Believin' finally brings the best out of Soto and also the show to a close.

Opening the two song encore with 'Separate Ways (Worlds Apart),' Soto truly saved his best vocals for last on a seamlessly blended-into-'Separate Ways' powerhaus version of 'Any Way You Want It.'

Def Leppard, in many ways, was the 'definitive' hard rock band of the '80s. There were many bands that rocked harder, and were more dangerous, than the Sheffield (UK) quintet, but few others captured the spirit of the times quite as well.

Taking the stage to the pounding beats of Queens 'We Will Rock You,' the evening sun finally beginning to dip behind the sell-out crowd, the band members came out one by one from high atop the stage set up; all smiles, some chatting amongst themselves, their love for their art evident to all.

Kicking off the show with a cut from their new covers album Yeah!, the band raced through Sweet's 'Hellraiser' before cranking things up immediately with 'Let's Get Rocked,' 'Let It Go,' and 'Bringin' On The Heartbreak.' Within the first few bars of the first song, Phil Cohen becomes shirtless and stays that way for the entire show. Joe Elliott introduces the next song with "Here's one to keep you coming back," and then they unleash their cover of 'No Matter What.'

With video screens continually showing old black and white photos of the band when they were mere wannabe rock 'n' roller kids, the band do admittedly look older this year. And for one disturbing reason or another bassist Rick Savage seems to be taking on the visually physical characteristics of a young Ozzy Osbourne - save for the fact that he wears white and Ozzy, well, ... doesn't!

Adding a prolonged dueling guitar segment every now and again, some songs seemed to be stretched a wee bit too much, but songs like 'Rocket,' 'Photograph,' 'Armageddon It,' and 'Animal' all served to bring the crowd to their feet, screaming each and every lyric as if their lives depended on it! Closing with 'Rock Of Ages,' Elliott says farewell to the crowd, "Thank you very much. Hey, we've got something to say ... it's better to burn out then fade awaaaaaaay!" The crowd goes ballistic and even more so as Vivian Campbell has now rejoined the throng shirtless also!

As we await their arrival back to the stage for the encore, the words 'Yeah!' light up across the back of the stage in bright flashing yellow. Savage thanks everyone for coming down to see them before the band launches into 'Love Bites.' The expected finale song of 'Pour Some Sugar On Me' wraps the proceedings up on a high and takes everyone home on a wave of happiness.

Review & Photos by Russell A. Trunk

www.JourneyMusic.com

You may not know this, but back in 1972, singer and harmonica player Huey Lewis and keyboardist Sean Hopper joined the Bay Area jazz-funk band Clover, who would eventually become the original backing band for Elvis Costello's first album My Aim Is True, before he attracted The Attractions!

After getting a singles contract from Phonogram Records in 1979, Huey Lewis united his former bandmate and three of his former rivals to form "Huey Lewis & the American Express". The group would release a single "Exo-Disco" (a disco version of the theme from the film Exodus) that was largely ignored. But in 1980, the band would woo guitarist Chris Hayes and move to Chrysalis Records, changing their name to "Huey Lewis & the News".

And so it is that phenomenal musical legend that came to town yet again and wowed the packed house here in MI. Opening for the powerhaus Chicago, Huey played his one hour twenty minute set like it was his own gig, on his own time, and in front of strictly his own fans.

Walking out on stage alone, dark sunglasses blocking him from the outdoor venues bright sun rays, he reaches the mic and says, "Hello everybody. I'm Huey Lewis." From there he lifts the harmonica to his lips, blows and sucks in equal measures and were suddenly straight into 'Build Me Up.'

Continuing forward with a plug for the latest 'Greatest Hits' CD the band go on to sing 'Some Of My Lies,' 'I Want A New Drug,' 'Small World' (inclusive of one long-ass sax break), 'Doin' It (All For My Baby),' and 'Power of Love' before we hit the acapella portion of the evening.

With four additional mic stands brought front and center for various band members, Huey introduces the band before heading into 'It's Alright' (bathed in purple light) and then; with the aid of some guitars, 'Uh Huh Uh Huh Huh.'

The rip-roaring 'Heart Of Rock 'N Roll' is next which is followed by 'Heart and Soul.' Joined on stage by Chicago trumpeteer for 'But It's Alright,' Huey then brings the set to a close with 'Not Here For A Long Time, Here For A Good Time.'

Coming back out, he announces to the crowd that they are about to go "... back in time" which they do with their Back To The Future movie track 'Back In Time.' Joined on stage by Chicago guitarist Bill Chaplin, they both trade off vocals on 'Thank you, Baby,' before the entire show is brought to a final close with the pulse-pounding, fist pounding, beat-pounding 'Workin' For A Livin'.'

Review by Russell A. Trunk

Coming out of Nashville, TN, Be Your Own PET is a force to be reckoned with. This quartet of teenage ‘wildcats’ first came together in 2003 with brothers Jamin and Jeff Orrall (Night Shift Nurses), and after a quick line-up change finally adopted the name Be Your Own PET - which was a song title from Infinity Cat label mates Art Circus.

The vibrant band finally landed here tonight at the Magic Stick in Detroit, where openers Whirlwind Heat pump up the audience playing songs from their album Do Rabbits Wonder and the freshly-released Different Types of Wood. Culminating their set with the hit 'Umbrella People,' it serves to leave the pumped up audience in high anticipation of Be Your Own PET.

They don’t let the small turnout take from their energy and when BYOP takes the stage, for vitality is putting it lightly. They start off with 'Bunk, Trunk, Skunk' shaking and banging at a dizzying pace while vocalist Jamina Pearl threatens to deflower the audience with a voice that floats like a butterfly and stings like a bee making any riot grrrl proud. After a few more songs they begin taking requests from the audience and discussing amongst each other what songs would be best. After short deliberation they decide on 'Bog' and have the audience bouncing along.

They have a sound that brings back memories of The Buzzcocks infused with a disco back beat, and I’m sure they have received endless comparisons to the Yeah, Yeah, Yeahs and Bikini Kill. They take a few seconds to remind us that it is the release date of their latest album saying “Uh, our record came out today. Uh, you can buy it,” before literally jumping right back into song. At this point it’s surprising the energy on stage hasn’t faded even a little with Pearl (vocals), Vasquez (bass), Orrall (drums), and Stein (guitar) thrashing about playing 'Girls in T.V.' with a vengeance. After 25 minutes of play, Pearl lets us know that the next song will be the last, and thanking us for “... coming out and celebrating our Lord saviors birthday,” they end the night with 'Fill my Pill'. As the song begins to close Pearl takes a flying dive at bassist Nathan Vasquez, tackling him into the audience!

They make a fast recovery and Vasquez leaves Pearl to flail her arms and kick her legs, running about and into audience members for a few minutes after their set is finished. Once she has stopped Vasquez steps to the mic, “We know we’ve had a lot of laughs tonight, but one thing we are serious about is people watching out shows. Thanks for coming out tonight.”

No, ... thank YOU, BYOP!

Review by Natalie Borsh

Since exploding onto the UK music scene in autumn 2004, KT Tunstall has emerged as one of today’s most remarkable new artists. Eye To The Telescope, the Scottish singer/songwriter’s dazzling Mercury Prize-nominated debut, showcases her provocative sonic mesh of heartfelt pop, bona fide electric blues, and left-field alt.folk to perfection.

Having just listened to the highly impressive musical styling of her opening act David Ford, I found it very impressive that tonight's small-town suburbia show had come complete with a large 'Sold Out' sticker emblazoned across it's front doors! For, back home the lovely KT Tunstall has become somewhat of a cult favorite - even just recently winning a coverted Brit Award - but here on her first American tour she is hardly a household name. But, and as an Englishman, I was very proud for her.

As she takes the stage, offering her chewing gum to someone in the front row in jest, quickly taking it back whilst muttering something about seeing it up on Ebay soon, KT is welcomed with a huge warm round of applause. But it's as she gets into her musical stride that you suddenly begin to hear a different KT Tunstall from the one heard on her debut American release, 'Eye To The Telescope.' To hear her on a recording, you may think she sounds like any number of solo female folk/acoustic singers. But to hear her play live, well, that just ain't true. Accompanied by her band of merry men, she rocks-up each track, adding beats and harmonies not found on the CD. In fact, she's got live looping down to a science! Recording each loop in two bars or less, Tunstall is highly entertaining and equally as visually alluring.

Culling from the album on a regular basis, Tunstall's beautifully balanced pop songs and stunning voice bring us such tracks as 'Other Side of The World,' 'Another Place To Fall,' ' Under The Weather,' 'Miniature Disasters,' and both 'Black Horse and the Cherry Tree' and 'Universe & U.' Obviously being somewhat obsessed with the lo-fi crackle and hiss of primal blues recordings, Tunstall's organic approach has remarkably captured the visceral sound she hears in her head ... and we are all the more thankful for it. As we head towards the end of the set, she brings us the awaited hit single 'Suddenly I See' which is every bit as funky and as bouncy live as the CD version would have you believe.

Coming back for the two encore songs of both 'One Day' and 'Through The Dark' - which she claims is the end result of some of the most expensive piano lessons ever! - Tunstall finally says goodbye to the still-packed house. Arms frantically waving, broad smile never wandering, she is happy, they are happy, ... the world is happy.

Review by Russell A. Trunk

Not that any one probably really cares, but James Blunt first sought entry into the music industry upon finishing four years in the Army. 'Back to Bedlam', Blunt's debut album, was released in 2005, but not before lead single 'You're Beautiful' had spent many weeks at number one on the UK singles chart did he finally get the chance to musically then take the world by storm.

Held at Detroit's State Theatre - having first been announced at a much, much smaller one and then changed to a medium sized one, before finally everyone settling on the one we were all packed into tonight - even three hours before the show Blunt's tix were changing hands outside the venue for up to $100 each.

And from the time the lights went down at 10.00pm exactly, the sounds of "Stuck In The Middle With You" gently fading away, for the following hour and twenty minutes the 28-year-old British singer-songwriter provided one of the most enthralling displays of musicianship that the venue had ever scene.

Accompanied by his band of finely-tuned merry men, Blunt uncharacteristically bounds on stage and armed with a ferocious smile, fearlessly proceeds to belt out most of 'Back To Bedlam's 10 songs. Blunt's slim, attractively rumpled figure then zig-zagged from one side of the stage to the other, playing the crowd like a seasoned pro, his supposedly quiet demeanor not evident in these opening barbs.

Blunt's gravelly voice and bleeding-heart lyrics are definitely a hit with women, who assiduously sing along and offer ear-piercing screams whenever a lull or an end of a song is brought forth.

Switching back and forth between guitar and piano and backed by a competent but stolid four-man band, Blunt sang the wistful, weepy songs on his album - 'High,' 'Goodbye My Lover,' 'Tears And Rain,' 'So Long Jimmy' - with his reedy falsetto, and even threw in a couple of "Hello, Detroit"'s for good measure.

With only the one album of songs to cull from, Blunt chose to also showcase a couple of new songs. Both on the low downbeat, 'Because I Love You' was probably the more accessible tasting of his next album. One of the show highlights included 'No Bravery,' Blunt's confessional about his past experience as a reconnaissance officer in the British Army, for which he played piano whilst a screen behind him showed footage of bombed-out Bosnian villages.

Another highlight came during the encore for which he saved a worthy rendition of The Pixies' preeminent 'Where Is My Mind?' and, of course, his hit single 'You're Beautiful' ... which he sensibly let the audience yell “f***ing high” (changed to “flying high” on the radio!). With the entire latter half of the song backed by the audience, the tune resonated throughout the theatre in a most splendid style.

Sheryl Crow's fresh, updated spin on classic roots rock made her one of the most popular mainstream rockers of the '90s. Her albums were loose and eclectic on the surface, yet were generally tied together by polished, professional songcraft. Crow's sunny, good-time rockers and world-weary ballads were radio staples for much of the '90s, and she was a perennial favorite at Grammy time.

Tonight, and to a packed house on the opening night of her new 'Wildflower' tour, Crow brought her free-associative, reference-laden poetry to the beautiful Fox Theatre in downtown Detroit. Taking to the stage in a stunningly-fitted cream-lace dress, the slim, tanned singer greeted the standing ovation with a bright, white, ultra-warm and genuine smile before taking the mic and launching into 'Run, Baby, Run' from her debut album.

Crow has got to be one of the most dependable stars of the past decade as with each passing song here tonight, there isn't a note out of place, a chord wrongly struck, or a smile faked. Her incredible vocals were taken to a whole new high though as they were impeccably backed by a stunningly excellent 11-piece string section that backed her at every swoop and height.

Alternating between acoustic and electric guitars, between strings and no strings, between harmonica and quiet moments at the piano, Crow is the true personification of musical perfection. 'Hard To Make A Stand,' 'Maybe Angels,' 'Good Is Good' and the string enhanced 'Letter To God' all come to the fore in the show's first third. But, it's as she enters the halfway point, and noticing the still-seated audience, that Crow decides to evoke some of her passion onto them. "Come on everyone. Dance if you want to. I don't mind."

Following a quite fantastic stringed-version of 'First Cut Is The Deepest,' Crow reminisces about her meeting with Bob Dylan and the song that he imparted on her for her '98 Globe Sessions album, 'Mississippi.' This, of course is then buoyantly sung, before a stool is brought front stage for her then allows a now-seated Crow to bring us both 'Strong Enough' and 'Wildflower.' Under a flash of bright, yellow lights, 'If It Makes You Happy' is next followed by the piano version of 'Always On Your Side' and the thought provoking 'Where Has All The Love Gone.'

Bringing the set to a close with the energetic twosome, 'All I Wanna Do' and 'Change Would Do You Good,' Crow and her wonderful musicians take a well-deserved bow goodnight ... before coming back for the encore songs: 'Soak Up The Sun, ' Everyday Is A Winding Road' and 'Safe And Sound.'

They've been referred to as the poster children of pop-core, the kings of punk-pop, and the voice of a generation. But to the members of Green Day, collecting labels never mattered — and American kids have identified with both the motivation and the inspiration behind the music. Enough to buy some fourteen million Green Day albums.

Tonight, and in front of a packed-to-the-rafters arena, the band formed by front man Billie Joe Armstrong in Rodeo, California were prepared to give their collective all for their fans ... and then some! As a huge, 'drunk' pink bunny finally walks off stage to the sounds of the Ramones' infamous party chant 'Hey! Ho! Let's Go,' the lights quickly go down and the theme to '2001: A Space Odyssey' is unleashed unto the packed house.

Two-thirds of the back drop shunts to the ground, flags are raised, stage lights spiral, and then there they are: Green Day. Larger than life, eager to please, and as pumped up as any small child on a bottle of Ritalin, the trio and their fellow tour band members take their positions - leaving Billie Joe to stand atop his front stage soap box, guitar slung, arms splayed wide whilst the last chimes of the classical orchestration play out. Trust me, it was as breathtaking an entrance as any I had seen this year!

Kicking off the proceedings with 'American Idiot,' clad entirely in tight black attire, Billie Joe is quite simply the orchestrator supreme. Whether it be coaxing the audience into doing an early Mexican Wave, or having them have a left side Vs right side sing off, the diminutive front man has them at hello! "I want you to sing so f**kin' loud that every redneck in American hears you," he instructs them - and to which the 32,000 strong happily oblige from there on in.

Incorporating a series of stage explosions, fire pods, bright stadium-like lights, video screens, and much more, Green Day don't take any time to rest on stage. Especially the ever-energetic Billie Joe as he continually runs fully from one side of the stage to the other ... most times just to show the people of the side seats his masterly guitar-playing-behind-the-head skills! But, it's when he stands there, arms crossed towards the end of some songs, bass chords and drum beats still gently providing a backbeat, waiting for the crowds' voices to rise, rise, and rise further in adoration for their musical warrior heroes, that you quickly see just how much power this band has.

And, of course, in-between all these stage antics come the songs: 'Jesus Of Suburbia,' 'Holiday,' 'St. Jimmy,' 'Welcome to Paradise,' 'Hitchin' a Ride,' 'Basket Case' and more. But, and as much as the music is spot on and Billie Joe's vocals are as pitch perfect as any soundalike 10-packs-a-day smoker's could be, it's his continual dragging of the heavy mic stand to wherever he next wants to sing from; his endless stage darts from here, to there, to everywhere; his instructional audience one-handed (and in sync) sea of arm waves; and the like that make this entire show a spectacle of wonderment from start to finish.

And that is taken to a whole new height towards the end when Billie Joe prowls the stage enticing up from the audience a drummer, a bassist and a guitarist to take over from them, and to allow Billie to sing the end of a song instrument-free! The drummer and the bassist are found and seemingly know their stuff, but the female lead guitarist turns out to be a fake and is quickly replaced with a young man from Ohio. They instantly blend well, the song is sung, and Billie Joe hands the guitar off to the guy to keep ... and then asks the 'drummer' to do a stage dive!

Introducing the entire band, and jokingly(!) first naming himself George W. Bush (which was greeted with a rapturous backlash of boos!), then "My name is Kiiiiiiiiiiid ..." (which was greeted with semi-silence, save for Billie's own laughing!), and then finally "Nope, people just call me Asshole!" (which is met with a mighty roar of approval!), Green Day push ever on. 'Brain Stew' is next up followed by 'King For A Day,' and a sultry, sexy version of Lulu's '60s pop hit 'Shout!' Laying on the dirty floor, completely flat to the stage, the entire band (save for the drummer!) does their part in bringing the music 'down,' but as Billie Joe raises himself up (and now smothered in a regal cloak with royal crown atop his head!), he walks slowly out down his extended stage walk, kneels, bows, blows kisses, and fittingly ends the song under the single white glow of a high spotlight.

Bringing the entire show to an end after over an hour and a half's festivities with both 'Wake Me Up When September Ends' (dedicated to the heroes of September 11th) and 'Minority,' the band finally leave the stage. Quickly back, Billie Joe thanx the audience for having made them feel so welcome, throws in a quick political speech, and amidst a few more final stage explosions gives us 'Misery' and 'Boulevard Of Broken Dreams' before - once and for all - they are gone for good.

Review by Russell A. Trunk

Photos by Chris Schwegler - www.schwegweb.com

Before he released his first album, Richard Marx sang on commercials and was a backing vocalist for Lionel Richie. It was here that he learned the commercial pop skills that made him an adult contemporary radio star in the late '80s.

Shooting to the top of the charts upon the release of his eponymous debut in 1987, Marx's first hit was the California rocker "Don't Mean Nothing," but his real strength lay with ballads like "Right Here Waiting," which became an adult contemporary staple in the late '80s.

Tonight, and for the first time in seven long years and more, the boyish charms of Richard Marx played live once again for his adoring public. Culling instantly from his latest album, My Own Best Enemy Marx begins the set with 'Love Goes On,' follows it with the classic 'Endless Summer Nights,' and tags on the freeflowing 'When You're Gone.'

Playing to a very happy crowd on a beautiful night under the stars, his no-frills stage setting is perfect to allow Marx's permanent grin to beam through time and time again. "It's so good to be back in your hood," he says for the first time, "And we're gonna play a lot of music for you tonight."

Keeping to the promise, his hour and a half show continues onwards with the older staples 'Angelia' and - having introduced it as "Now we're going back to the '80s, when music was music, MTV was for videos, and when hairstyles were, ... well, whatever!" - 'Should've Known Better.' Bringing a stool out to the front of stage, he picks up an acoustic guitar and sings us both 'Hold on to the Nights' and 'Now and Forever.' Introducing his bassist as Vertical Horizon's very own Sean Hurley, the band then break into an impromptu version of Horizon's biggest hit to date, 'Everything You Want.'

Mentioning that the next song was one he wrote back in '91 in the back of a tour bus, the darkly-intriguing 'Hazard' is next, followed by the new track 'Ready To Fly,' 'Take This Heart,' and the new song that he has just co-written for Keith Urban, the Country-afflicted 'Better Life.' A funky opening to the guitar-influenced 'Dancin' is quickly followed by the Rockpile classic 'I Hear You Knockin.'

Assuring the crowd that as they may well have come to the end of the show, that there was no need for the band to walk off stage and do that whole 'encore routine,' Richard and his band stay right where they are and break out the final two tunes of the night ... the highly-anticipated 'Right Here Waiting' and the rocker that got it all started, 'Don't Mean Nothing.' "Thank you, my Detroit, Michigan friends and please drive carefully" is the final retort from the amiable pop/rocker. But, for both the casual and the longtime fan, tonight’s step-back-in-time was a musical blessing of the highest order and one that was far too long in the making.

Richard, please come back soon, for all our sakes!

The winner of Fox TV's first 'American Idol: The Search for a Superstar' competition, during the summer of 2002 Kelly Clarkson went from an anonymous talent to a nationally known singer performing for an audience of millions of viewers. One of the show's most naturally gifted singers, here tonight (for the second time in three months!), playing to over 10,000 people the young Burleson, TX native's vocal talents were again loud and proud for her young audience.

Opening up for her, and vocally getting the still-streaming in audience warmed up for the impending arrival of their collective new musical hero, the Graham Colton Band are more than worthy of such a position. Led by the man of the same name, the Oklahoma City raised 24 year-old kicks off his set with 'Don't Give Up On Me' and 'First Week.'

Asking people to stand up, sing, shout and do whatever they wished to, amazingly as Colton heads into 'Cut' they all do exactly just that! Then, seeing that his young crowd are extremely receptive to his wishes, he requests that for the next song 'Killing Me' that they chant "Cumbyah" and begin some group hugs - which, for the most part, many do! Bringing his short thirty-minute set to a close with an energetic version of REM's 'The One I Love' and 'Cigarette,' singer/guitarist Colton thanx the crowd profusely, primes them once again for the imminent arrival of Clarkson, and is then gone.

As the incessant high-pitched chants of 'Kelly, Kelly, Kelly' began to suddenly increase, the house lights go off, the young screams are taken to a whole new level of piercing, and her band take to the stage. As the lyrics to 'Walk Away' are sung by a huge pair of red lips on a video screen center stage, it's not long before the real deal comes abounding onto the carpeted stage. Barefoot, smiling ear-to-ear, and dressed to kill, the 21 year-old is full of life and more than ready to cull live from her first two albums for her adoring fans.

Following with the hit single 'Miss Independent' and then 'I Hate Myself For Losing You' ("I didn't like this song at first, but now I love its Janis feel"), Clarkson is obviously quickly at ease on stage in front of such a large gathering. 'Low' is next and just after she chats with two brides-to-be, she cranks out the sultry 'The Trouble With Love Is' and the song she wrote back home in Texas when she was 16, 'Because Of You.'

"How y'all doin' tonight," she asks, genuinely interested, genuinely listening to some of the front row responses. With the continual, and increasingly eerie sight of Clarkson's ‘alive’ eyes high above the stage on two separate video screens - ala George Orwell's '1984' - the show moves forward with her Rascal Flatts cover of 'I'm Moving On.' She then follows this quiet moment with an even quieter moment, and one that her young fans found themselves (for the one and only time during the evening!) quite bewildered with! Covering almost perfectly the classic solo Annie Lennox song 'Why,' the moment for us adults was breathtaking, just not so much for the younger ones!

With the set now lit in lime green and clown red, the bouncy 'Gone' is next and is buffered quickly by a wonderful new track from her forthcoming CD, 'Come Here.' The soulful rock track is truly a winner with everyone there and from the vibe of it is perhaps the sound that finally allows Clarkson to find her musical comfort zone. After an ultra-quick costume change, Clarkson's back in her MTV wedding dress for the angst-ridden song 'Behind Hazel Eyes,' before she's changed again and toned the gig down for a solo rendition of 'Beautiful Disaster.'

Coming into the final bend, the fan favorite 'Hear Me' is next, and having just ripped the sound values of her debut CD ("I hated the production of the first album!"), she introduces the band, before launching into the final song of the set, the hi-nrg 'Since U Been Gone.' Coming quickly back out, she begins the last song of the show with a question: "How many of you came here tonight to sing a song with me?" Beginning the song front of stage, two acoustic (and seated) guitars either side of her, the audience now being filmed and plastered across the back video screens, 'Breakaway' is served up to the masses.

And then, one hour and ten minutes later, it's all over. As flushed as a cherry tomato, as worn as a rag doll, and glistening like a swimmer just out of the water, Clarkson waves frantically at her fans. "God bless," she manages to still get out, "And please come back when we come back."

Review and Photos by Russell A. Trunk

www.KellyClarksonWeb.com

Destiny's Child rose to become one of the most popular female R&B groups of the late '90s, eventually rivaling even TLC in terms of blockbuster commercial success. Tonight, on their 'Destiny Fulfilled' tour here at the Palace of Auburn Hills, their musical accomplishments were supposedly on show as a group for the last time before a band break up ... but based on what they gave to their fans, I find it hard to believe that a career end is in sight for this powerhaus group!

Having said that, and in what could well have been their final Detroit appearance as a group, Destiny's Child's charged brand of female empowerment was quickly brought to the fore tonight in no uncertain terms.

Rising up through the stage via three trap doors amid a swirl of dry ice, the girls - Beyonce Knowles, Kelly Rowland and Michelle Williams - began the near two hour show by reaching back in time. Swingin' a hit out of the park from the off, they launched into their 1999 mega hit 'Say My Name' before 'Independent Women, Pt. 1,' 'No, No, No,' 'Bills, Bills, Bills,' and 'Bootylicious.'

For the entire show here last night, a veritable greatest hits performance, each and every song they sang just helped remind everyone of this group's chart dominance these past seven years. Culling from the time when they were a quartet ('Jumpin, Jumpin,' etc.) on through to the latter days with 'Survivor,' the R&B girl-group shone brightly for the 10,000, predominantly female audience.

As the hits and the popular album cuts came tumblin' out, the show itself provided by the girls from Texas was, as expected, polished, beautiful, energetic, and visually a dancing masterclass. Add to that the fact that their voices were as tightly-locked to one anothers harmonies that you couldn't tell them apart during choruses, and you know that the world where hip-hop, meets pop, meets gospel was a thriving one.

With a highly-charged opening under their belts, over the following periods of time the incredible energy was maintained on a constant level - each and every pre-requisite of a wardrobe change by both the trio and their en mass of dancers bringing something fresh and vibrant to the performance.

Slowing things down midway through, the girls brought three lucky men up on stage from the crowd. Positioning them for the audience to see clearly, the ladies then went through a painstakingly long (and seemingly slow) routine where they sang 'Cater 2 U' to them. Perhaps brought in to allow them all to get their breath back, the elongated moment just seemed a little too, well, staged!

But the powerhaus group were back up and running again shortly thereafter as both Williams and Rowland took turns in the spotlight. The latter lending her impressively-ranged voice to the hit 'Dilemma' as fans eagerly filled Nelly's parts. But, and as everyone in the house could have expected, it was Beyonce who got to shine the brightest in the solo spotlight. Delivering energy-charged renditions of such solo smashes as 'Dangerously in Love' and 'Crazy,' the show was brought into its final bend.

Encoring for the packed house with an absolutely storming version of 'Survivor,' and following that up with 'Lose My Breath' - the opening cut from their latest, and possibly last CD - Destiny's Child the band may well have called time on themselves, but it was very evident here tonight that without this trio on our stages, that the soul of pop-R&B is going to be void never truly fulfilled ever again.

During its initial 14 years of existence (1973-1987), Journey altered its musical approach and its personnel extensively while becoming a top touring and recording band. In truth, the only constant factor was guitarist Neal Schon, a music prodigy who had been a member of Santana in 1971-1972.

Tonight, Schon and co. shine as bright as ever as the band - led by an announcers voice-over about this being the band's 30th Anniversary tour and that tonight’s set would be broken into two halves - casually take to the stage early to perform a selection of their early '70s material to the still filtering in crowd. Kicking off the first half of the set without so much as a hello, the guitars electronically light up in the bright sunshine bringing us 'People & Places,' 'Kohoutek,' 'Of A Lifetime,' 'I'm Gonna Leave You,' 'Nickel and Dime,' 'Mystery Mountain,' and 'Patiently.'

With a huge chunk taken from their debut self-titled debut album, the tracks have a sharp focus on all given instrumental sections - which is not surprising as it wasn't until 1978's Infinity album that Alien Project vocalist Steve Perry was brought into the group! "Journey's been through a lot of changes through the years," keyboardist Jonathan Cain points out, "So where were you?" he then questions as the band strike up the song of the same name - sung by drummer Deen Castronovo.

Bringing the first half to a close with some rockier, well-known songs, Journey - now with lead singer Steve Augeri back on vocals - round out with 'Feeling That Way,' 'Anytime,' and the catchy power hit 'Any Way You Want It.' "Don't go anywhere, we'll be right back," instructs Augeri to the now-standing, heartily applauding crowd. "Don't leave your seats," he further adds, with one last look over his shoulder!

Journey may well have been formed originally as a vehicle for Neal Schon's guitar pyrotechnics, but with Augeri on both guitars and lead vocals, the man brought in to replace the beloved Steve Perry is by far one of the main reasons to still get your head messed up by their music. Beginning the second set in fine rock-soaring style, Journey brings us both 'Be Good To Yourself' and 'Only The Young.' And, with the sun just beginning to dip behind the huge outdoor hill chock full of hot, sweaty, dancing fools, Augeri quickly brings the crowd up to date. "Detroit, how are you doing tonight? We're celebrating 30 years of Journey," and with that the band launch into a new track from their latest CD Generations, 'Faith In The Heartland.'

Schon - his trademark black sunglasses back on for the time being - then takes the solo spotlight as he busts out his always-anticipated, and highly-extended version of the 'Star Spangled Banner,' before 'Stone in Love,' 'Wheel in the Sky,' and 'Chain Reaction' follow suit. Then it's time for funnyman bassist Ross Valory to have a turn in the spotlight as he sings us his 1980 hit 'Walks Like a Lady' - an FM staple that climbed to #32 in the charts that year!

As the powerhaus show plows on relentlessly, new track 'Every Generation' is followed by 'Who's Crying Now,' 'Open Arms' (complete with lit candles on video screens), 'Escape,' and the dedicated-to-our-troops cut 'Out Of Harms Way,' but it's not until we get to the power ballad 'Faithfully' that the lighters come out, everyone stands up, and the venue is truly at one with each other.

'Don't Stop Believin' and finally 'Separate Ways' bring the epic near-three hour show to a close, but quickly the band return to the stage for the encore song 'Lovin', Touchin', Squeezin' before they are, for once and for all, musically gone for the night.

Journey, with Schon's soaring leads supported by Cain's bright keyboards in typical arena rock arrangements, together with Castronovo's sweat-ridden work on the skins, Augeri's typically emotive vocals, and Valory's tight-knit bass playing, is still one heck of a musical force to be reckoned with today. And sure they may not be the so-called beloved 'original unit' that once was, but this new breed of Journey is as good as those early conceptions ever were and have the promise of many more years to prove just that point.

Review & Photos by Russell A. Trunk

This summer, Bryan Adams and Def Leppard gave the phrase "Take Me Out To The Ball Game" a whole new meaning as they co-headlined the Rock 'N Roll Double-Header Tour. Two of the most popular rock acts to ever take the stage, they teamed up for the first time and performed at 26 minor league baseball stadiums. The rock 'n roll season opened on June 1st in Portland, OR and culminated here tonight in Lansing, MI at the home of the Lugnuts.

From the mid-'80s to the mid-'90s, Canadian singer/songwriter and guitarist Bryan Adams was one of the most successful recording artists in popular music worldwide. His raspy voice, simple compositions, and straightforward musical approach earned him early critical approbation as a likable rock & roll journeyman.

Tonight, with the sun still high in the sky and in front of 10,000 screaming fans, Bryan Adams took to the stage to begin a memorable greatest hits set. Kicking off with 'One Night Love Affair,' 'Somebody,' '18 Til I Die,' and 'Can't Stop This Thing We Started,' Adams' voice is as feisty as usual, his stage presence a little curtailed, yet his guitar aura in full swing.

Continually either smiling or striking a chord with a rock out face, Adams doesn't say much, but when he does is straight to the point. "Hello, Ladies and Gentlemen, and welcome to the Rock 'N Roll Double-Header. My name is Bryan and I'm pleased to meet your acquaintance."

Plowing relentlessly ever musically onwards, up next from the Reckless album are both 'Kids Wanna Rock' and 'Summer of '69,' before he announces the first quiet moment of the set. "Here's one from our MTV unplugged album. This is 'Back To You'." 'This Time' follows, but the pace is brought back down once more for the mega-hit single '(Everything I Do) I Do It for You.'

Picking the pace back up again he speeds on through both 'Cuts Like A Knife' and 'When You're Gone' (complete with a female member of the audience brought up on stage by Adams to sing some out of tune, and highly shaky backing vocals!), before actually singing the one solitary cut from his brand new album, Room Service, 'Open Road.' "I recorded this new album in hotels around the world," he explains in relation to the album title, but the unknown track to the massed gathering is soon seen to be their pit stop opportunity at the beer tents around the ball park!

Finally bringing the 90 minute show around its final corner, 'Heaven,' 'It's Only Love,' 'Only Thing That Looks Good on Me Is You,' and then lastly 'Run To You' take the crowd to their highest singing points. "I'm Bryan Adams, thank you" ... and then, with a wave of the hand he's gone for the night.

Def Leppard, in many ways, was the 'definitive' hard rock band of the '80s. There were many bands that rocked harder, and were more dangerous, than the Sheffield quintet, but few others captured the spirit of the times quite as well. Emerging in the late '70s as part of the New Wave of British Heavy Metal, the group actually owed more to the glam rock and metal of the early '70s than much else.

Taking the stage to the pounding beats of Queens 'We Will Rock You,' the evening sun finally beginning to dip behind the huge stadium walls, the band are all smiles, chatting amongst themselves, their love for their 'job' evident to all. Taking the audiences' ears from them instantly, the band got down to work with 'Action,' 'Let's Get Rocked,' and 'Women'; which also becomes the time when guitarist Phil Cohen decides to remove his shirt!

'Foolin', 'Hysteria' (complete with a huge electronic British flag seen in various entities on the big video screen behind them!), and 'Promises' are next ("Thank you very much and good evening," voices lead singer Joe Elliott. "It's a special night tonight. It's the last of the baseball stadiums with Bryan Adams. Thank you for being here with us tonight, Lansing, Michigan") before launching into their new Badfinger cover song, 'No Matter What.'

The always impressive head-nodder 'Love Bites' is up next, followed by the Vivian Campbell guitar-introduced 'Armageddon It,' and then a fantastic (and highly-under-appreciated on the night!) rendition of the classic David Essex hit, 'Rock On.' Listening to the cut was good enough, but watching the facial-morphing video of the band on the big screen was equally as engrossing!

The red and green bathed 'Rocket' was next and featured en mass of quick guitar solos incorporated into the elongated middle section of the song. The always-loved 'Photograph' is as brilliant as ever, but then suddenly during 'Animal' it's vocally clear that Elliott's voice has begun to end the night ahead of his body! Ending that song and then getting through the set finale 'Rock Of Ages,' his voice has cracked, his high note reach now not there, his need for liquid during the songs apparent in his step backs. "Thank you, Lansing, Michigan. Take care and goodnight," he fires out, probably grateful that his voice has lasted this long through the extensive tour.

Coming back out for one last turning back of the musical clock, Elliott's voice is thankfully back as he pounds out 'Bringin' on the Heartbreak,' and then backs it up with a pulsating 'Pour Some Sugar on Me.' "Don't forget us and we won't forget you," he begs one last time, as the Queen song 'We Are The Champions' plays the audience out of the now lit baseball stadium.

After spending several years as the lead vocalist and rhythm guitarist for the mid-'70s hard rock band Montrose, Sammy Hagar began a solo career that produced many hits and made him an album rock favorite. But, in truth, Hagar became a true star once he joined Van Halen in 1985 ... and yet tonight, in front of a heaving audience, he just proved further what an all-round God of Rock he really is!

OK, admittedly 'God' may be too strong a lead title, but shit, this man can f**kin' rock! Dropping the curtain at precisely 8.00pm, half the crowd already jazzed on Margaritas, the other half fast catching up, the Red Rocker powers straight into 'Space Station #5,' 'Rock Candy,' 'Rock The Nation,' 'Make It Last,' and 'Bad Motor Scooter' (the first and last tracks both Montrose classics) before even taking a breath!

Like all recent-to-memory shows, this is yet another 'Best of Sammy Hagar' music night. It's also very noticeable that the man - decked out entirely in red (including his socks!) - doesn't speak much to the crowd ... until around his fourth or fifth hand-delivered whilst-on-stage Margarita! Brought forth by a trio of bikini-wearing girls, it's then that his mind starts to verbally unload!

'Give To Live,' 'Top Of The World,' 'Runaround,' and the fist-pounding 'I'll Fall In Love Again' are next in line, the latter sung with a bright red straw sombrero now atop his curly blond mop! Next we get a pulsating 'Three Lock Box' before he introduces a brand new song, 'The Way We Live' to his adoring fans. Telling the story that it was written for the fans because they wanted to know what it was like to be Sammy Hagar, the song is, of course, an instant hit.

The Motown classic 'I'll Take You There' is the only musically uneven segment of the night, but the tempo is quickly re-lit with a stirring rendition of Halen's 'Right Here, Right Now' and quickly followed 'Little White Lie.' Introducing two songs that he had never, ever played live since they were both recorded back in '82, movie tracks 'Fast Times at Ridgemont High' and 'Girl Gets Around' send the crowd into ecstasy, before the chest-pounding 'I Can't Drive 55' is served up.

Smashing a lowered pinata shaped as a massive Tequila bottle wide upon to reveal endless amounts of yellow and red ticker tape and streamers, 'Mas Tequila' and then 'Heavy Metal' bring the solo Sammy Hagar show to a close. "Stick around," the Great One pleads, as his band come front of stage to grab some spotlight, "We'll be right back with the second half of the show with Montrose."

It was at this point, after what must have been close to seven long hours of drinking and partying, that the packed house began to show their loyalty for the Red Rocker. From what I could see, around only 20% made their way out to the parking lots to carefully wind their way home, leaving behind those aching to see the Montrose reunion. Unfortunately, I was one of those that bid farewell to the Man in Red, and having purchased my Hagar tour T-shirt, got into my car (sober!) and headed out into the night - the high banks of speakers three feet from our great seats now having completely deafened me in my left ear!

Long live rock 'n roll!

Huey Lewis & the News are a bar band that made good and with their simple, straightforward rock & roll, the San Francisco-based group soon became one of America's most popular pop/rock bands of the mid-'80s.

Taking to the stage tonight, a heavy stubble-sporting Huey Lewis casts his gaze out upon the two-thirds filled outdoor venue, gently smiles and then slowly, but surely brings the News to those yet uninitiated.

Cuts such as 'Trouble In Paradise,' 'Heart of Rock & Roll' and 'Thank You #19' burst forth before the classic 'I Want A New Drug' finally gets everyone up on their feet. Blending seamlessly into 'Small World,' Lewis continues to walk the stage, but this time takes a seat at one end to sing a lyric or three. "We're going way out West now," he states as they crash into a rousing rendition of 'Rhythm Ranch.'

The fist-clenching anthem 'Power of Love' is next, followed by Huey checking in with his fans ("Are you still with me?"), before the web-site requested song 'The Day After Tomorrow (World Stops Turning)' is presented. The highly under appreciated 'Jacob's Ladder' from '88s highly under appreciated Small World is next, before four additional mic stands are brought to the front of stage.

Taking a couple of live audience polls for a few minutes, Huey and various members of The News first sing (a cappella style) 'It's All Right,' then 'Um, Um, Um, Um, Um, Um' (a Major Lance cover), before finishing it all off with 'Stagger Lee.' Plugging in once more, we get both 'Heart And Soul,' and 'But It's Alright,' before one of their own personal favorites 'We're Not Here For A Long Time (We're Here For A Good Time)' brings the hour and a half set to and end.

First up for the encore is the movie-inspired 'Back In Time' which is quickly followed by 'Doing It All For My Baby.' Beginning with some Huey train-approaching harmonica, 'Workin for a Livin' finally (although unfortunately!) brings the whole show to an end. Incorporating strong elements of R&B and doo wop, embracing pop, and including polished, anthemic hooks, Huey Lewis & The News may well still play their brand of steady, middle-class rock & roll, but MAN, do they do it better than anyone out there today!

Donna Summer's title as the "Queen of Disco" wasn't mere hype - she was one of the very few disco performers to enjoy a measure of career longevity, and her consistent chart success was rivaled in the disco world only by the Bee Gees. Tonight, here at a packed-to-the-gills full house of diehard fans, Summer took them all back in time to that rose-tinted spirit of the disco era perfectly.

Taking to the stage twenty-five minutes late due to allowing more time for the streams of people still lining up outside for tickets, Summer - introduced by an Overture mix-medley of some of her defining hits - eventually rose from within the center of a piano high atop the back of the stage. Smoke billowing, a huge mirrorball above her head turning, shining, dazzling both the stage and her, Summer began the night with the latter day hit 'She Works Hard For The Money.'

'Once Upon A Time', written for her youngest daughter, is next, before she explains to the crowd that she broke a tooth this very morning and that she was rushed all over the place to have it fixed ... on a Sunday! Moving on, we got 'Could It Be Magic' and her disco cover of the psychedelic pop epic 'MacArthur Park' [which was also her first number one pop single], before she admitted that she had been nervous about touring again after so long ... to which she received a standing ovation that brought her to theatrical tears!

Next up she performs Charlie Chaplin's only-known written song 'Smile,' before the upbeat 'Dim All The Lights,' but then - and in clearly the weirdest segment of the night, she announces that she has a new song coming out on I-Tunes and would like to sing it for us. Instead, what we got was an acoustic one and a half minute rendition of 'With A Little Help From My Friends' that even had the not involved members of her immense backing band looking at each other!

Then, in what has to take second place to the above vision, Summer invites five ladies up on stage to be her backing singers for 'On The Radio' ... except, these girls are MOST all out of sync, don't seem to know the lyrics to the song, and worse yet, are using their new-found stardom to show off their own variety of bodily hip-shaking movements that quickly resemble outtakes from 'So, You Think You Can Dance?'! Discussing her long time love for the 'Queen of Soul,' Summer then does a pitch perfect version of 'Natural Woman,' before allowing her husband [Bruce Sudano] to take center stage to perform his own song from his 2004 album, entitled 'Lé Imaginé Café.'

As we head into the final straight, Summer reappears atop the infamous piano at the back, a costume change to the good, and her husband now tinkling away. 'I Got It Bad, And That Ain't Good' and 'You're Gonna Be So Lonely' are seductively sung, before a five minute interlude - inclusive of a female backing singers' ramble about guys that don't call when they say they will - is concluded by Summer (now in a third change of all white) singing a vibrant version of 'No More Tears (Enough Is Enough).'

Bringing the show to a close with 'Cold Love,' she then intros the band before ending the set with 'Bad Girls' - amongst a bunch of now-dangled bright red strobe lights! Playing just the one song for her encore, allowing a violinist to begin it beautifully, Summer chooses 'Last Dance,' - which actually won her a Grammy for Best Female R&B Vocal - and which sets the crowd off home both happy and contented yet again.

Hootie & the Blowfish's mainstream pop variation of blues-rock brought the band to the top of the charts in 1995. Formed at the University of South Carolina, the group - lead vocalist/guitarist Darius Rucker, Mark Bryan, Dean Felber, and Jim "Soni" Sonefeld - quickly realized that the following chart years were ones where they were not able to replicate that success ... but live, they are a whole different beast!

Cracking open the can of Hootie from the off, the band strode through older songs like 'Time' and newer ones such as both 'Leaving' and 'I Hope That I Don't Fall In Love With You' - the latter a signal for drummer "Soni" to leave his set and play guitar front of stage.

Making everyone aware of their South Carolina roots, the band quietly rock their way through 'Let Her Cry,' 'I Go Blind' - which finally gets the sedate crowd up on their feet and off the butts! - and the bathed-in-red 'Running From An Angel'. New track 'Get Out Of My Mind' is followed by 'Old Man & Me (When I Get to Heaven)' and - as usual - is inclusive of a major rap interlude by guitarist Mark Bryan.

Bringing the set into its final bend, new songs, 'Hey Sister Pretty' and 'One Love' are sung, before 'Country Boy' slips quickly into a solo-Darius mixtape that includes such songs as: 'Ride Wit Me,' ' 'Hot in Herre' and 'No Diggity.'.

'Hold My Hand' ends the set, but the band are quickly back and burst straight into a wonderful Cheap Trick cover of 'Surrender' before bringing the night to an end with 'I Only Wanna Be With You.'.

Having started life off in the synth-pop outfit named Blush Response, lead singer of The Killers, Brandon Flowers and his trio of hardworking musicians are now the hottest thing to emerge from Sin City ... and trust me, there's been some bloody hot things come kickin' 'n' screamin' out of that city in its time!

Culling their name from a previously-unused moniker appropriated from a New Order video, The Killers personify a musical age long gone, yet surprisingly now back, reshaped, remodeled, and remastered for a new generation of synth-loving consumers.

Taking to the stage on this rain-swept night, here at the outdoor concert venue attached to the hugely successful entity known as the Soaring Eagle Casino, the band are led out by their master supreme. Dressed entirely from head to toe in white, the suited Flowers waves a gentle greeting to the damp, yet now highly-excited crowd.

Matching postpunk guitars with a synthesizer overlay, from the off the band are precise in their musical structures, constructive and deliberate in both their stage personas and musical directions. Flowers is indeed their Ringmaster as he stalks the stage during songs like some demented Lion, held captive but yet ready to pounce given the right split second opportunity.

In truth, Flowers doesn't say a lot between songs and tends to let the music speak for itself. But, as we head into the fourth song, he does both pose and answer the same question: "The running question of the night is about to be answered," he states before going into 'If The Answer Is No.' The barnstorming 'Somebody Told Me' is brought to the fore next and with it the sweat starts to glisten his entire face.

The slow, slightly-meandering album track 'Andy, You're A Star' is next, but is followed by the pace-driven new track ("We've been on the road for two years and so it's time for some new songs") 'I Don't Feel Like Loving You.' 'Glamorous Indie Rock & Roll' (only found on the British version of the new CD Hot Fuss) is next, before the show is brought to a quick 45 minute end with the MTV video hit, 'Mr. Brightside.'

Coming back out for a quick encore, the pounding 'Drive Faster' is first, followed by 'One More Sun' which brings the entire show to an end in a rousing finale style. Tonights show had been a complete triumph, a new musical masterpiece from start to finish. All this acclaim and it's still so hard to believe that the maestro himself is still only 22 years-old!

Review and Photos by Russell A. Trunk

Upon the release of their first album in the late '70s, Tom Petty & The Heartbreakers were shoehorned into the punk/new wave movement by some observers, who picked up on the tough, vibrant energy of the group's blend of Byrds riffs and Stonesy swagger.

Nowadays, well, they're a sound all of their own and a sold-out Michigan crowd were here to prove their own undying love for the traditionalist American rock & rollers.

Taking the stage all at once, Petty and his versatile backing band laugh and joke between themselves, before getting down to business without much further ado. Knocking the first three classic Petty songs out of the park ('Listen To Her Heart,' 'You Don't Know Who It Feels,' and 'Breakdown'), Petty thanks the packed house for their presence by putting his hands together in a prayer-like position, before cranking out 'Don't Do Me Like That,' 'Free Fallin,' and 'I Won't Back Down.' Then, after a rousing 'Last Dance With Mary Jane' he has the house lights turned on: "These are the greatest days of my life. Walking out here and seeing all you guys there. Thank you so much." Unfortunately, he follows that acclaim with a plodding version of an old Animals song, 'I'm Cryin' before getting back on track again.

Petty and his mates - one of the few famous for embracing music videos back in the day - have continual filmed images of themselves beamed up behind them on the huge, always brightly-lit back drop. Bringing 'Handle With Care' to the fore next, complete with glittering snow-like sparkles adorning the stage, Petty introduces the band.

After curtailing the energetic mood of the audience slightly by trotting out two slowly-melodic cuts from their Wildflower album ("We never got to do them on that tour, so it feels right to do them now, I guess," he explains), he's suddenly back playing ("Here's one you'll all enjoy") an extended piano version of 'Melinda.'

'Learning To Fly' brings us into the final bend of the show, and includes a house lights-on, everyone clapping in sync, last chorus, before having blown some kisses to the crowd, Petty strides into 'Give It Up' - complete with massive strobe light effects that would have driven any epileptic over the edge faster than a crack-addicted squirrel searching for nuts in an acorn factory!

Ending the main portion of the show with the singalong 'Live Like A Refugee' and the upbeat 'Running Down A Dream,' Petty and his gang of merry men are finally gone after an exhilarating hour and thirty-five minutes of performing.

Taking the encore in their stride, they quickly come back with 'You Wreck Me' - a song sounding more like Bob Dylan than Bob Dylan could ever have attempted himself - and followed that up with 'American Girl.' And then, just like that, the show was over, leaving close to twenty-two thousand people (and Dennis Ryan and friends!) more than happy at where their hard earned money had gone for the night!

The advertising read: "Legendary front man DAVID COVERDALE is bringing WHITESNAKE back on the road this summer with an entirely new perspective of his 30-year multi-platinum career. Presented by VH1 Classics, Whitesnake The Rock & Roll, Rhythm & Blues Show is the most ambitious Whitesnake endeavor in almost 20 years."

Well, being not only a hip journalist, but also an avid old school Whitesnake fan from the day, I witnessed this event last night from within the belly of the beast here in Royal Oak, MI! And, as much as it was certainly a powerhouse vocal performance from the always impressive Coverdale, a so-called 'new perspective' and 'most ambitious endeavor' of a premeditated event it most certainly was not!

That said, the show did enable both old and 'new' Whitesnake fans to sing-along in harmony, not to mention those crusty mid-'70s Deep Purple hangers-on ... straight from the off, actually!

Bemusingly opting to kick-start the 'most ambitious Whitesnake endeavor' of a show with old Deep Purple numbers, 'Burn' and 'Nightbringer', you could tell early on that if Coverdale's voice was going to survive that he would have to reduce the number of banshee-like screams into his mic!

Performing in an unbuttoned white shirt with tight blue jeans, Coverdale (now the only surviving member of anything classic to do with the Snake) grips and shunts the mic stand around like a man sexually obsessed! 'Bad Boys' is thrown out to the baying crowd, before their leader speaks: "Thank you, Detroit. It's nice to see you all here tonight. Here's one for ya," as then they launch into 'Love Ain't No Stranger' and their '78 blues tune, 'Ain't No Love In The Heart of The City.'

Continually yelping into his mic like a 12 year-old in need of ritalin, Coverdale slides into 'Slow & Easy' (dedicated to all the pole dancers in the audience!) and then brings forth a literally pulsating version of '89s 'Judgment Day'. 'Crying In The Rain' is then interrupted by a lengthy drum solo (with and without sticks), but being that Tommy Aldridge ain't no Cozy Powell, the outburst seems to meander aimlessly, before the whole band bring the song to a final close.

After introducing the band, Coverdale leads them on into their hit power ballad 'Is This Love' before bringing the set to a close with thumping renditions of 'Slide It In,' 'Gimme All Your Love' and 'Here I Go Again.'

Coming back out, to really give his vocal chords one last shot at exploding, Coverdale thanks everyone again (paying mention to the fact that he now knows he's not in Detroit, but in Royal Oak - but that does it really matter where the f**k he is?!) and then unleashes the old Purple song 'Feelin' Hot' before crashing headlong into 'Take Me With You.'

Bringing the show to a close with the rip-roaring, high energy, throat-busting nu-classic 'Still Of The Night', Whitesnake take their well-deserved group bow, the drum sticks and guitar pics head out into the crowd, and Coverdale's tanned face is finally gone for another few Michigan years!

Review by Russell A. Trunk

FYI - Fans can expect the release of a new live DVD, 'Whitesnake - The Rock & Roll, Rhythm & Blues Show' sometime this fall on Coming Home Studios/Universal. Both the DVD and limited edition companion live CD were recorded in October at London’s famed Hammersmith Apollo.

www.Whitesnake.com

Rock & roll wild child Avril Lavigne hit big in summer 2002 with her spiky-fun debut song 'Complicated,' shifting pop music into a different direction. Lavigne, who was 17 at the time, didn't seem concerned with the glamour of the TRL-dominated pop world and taking the stage here tonight again seems more in love with just singing than being commercial.

Skipping out to meet and greet her young, predominately-female audience, Lavigne is all smiles, her eyes wild with fun. 'Losing Grip' is first out of the holster with both 'Unwanted' and 'Sk8er Boi' following quickly behind.

At this stage in her life, Lavigne is a musical jukebox unto herself with regard having only had two albums out ... and singing the bejesus out of nearly every single track therein! Each song is sung back-to-back, barely any down time between, rarely anything being said by the 20 year-old.

Singing the thus far not recorded tour song 'I Always Get What I Want' and then the album track 'How Does It Feel', Lavigne finally addresses the crowd: "This is the first date of my American tour and I'm so happy to be here." Launching into 'I'm With You' and the faster 'Fall To Pieces,' she then heads off into 'Things I'll Never Say' before picking up her guitar for the first time to give us 'Don't Tell Me.'

Dressed in a blue top, black frilled skirt, and multi-colored socks inside two-tone sneakers, Lavigne is as comfortable on stage as any seasoned performed could surely ever hope to be. Grabbing her skirt by the hip to ensure no tripping during her stage run-arounds, a new backdrop is revealed along with a now Devil-horned Lavigne. Inciting the crowd to clap like demented squirrels on crack, the freshly blond-haired Lavigne sings 'Anything But Ordinary' before bursting straight into the Nirvana classic ("I'm a big Nirvana fan. Dave Grohl is the God of Rock 'N' Roll," she makes clear just prior!) from 1991's classic Nevermind album, 'Smells Like Teen Spirit'. And wow, what a sparklingly fresh rendition that was, even if 95% of the young crowd sat down to try and figure out what the noise was all about!

Next a Piano is wheeled in and a chandelier is dropped from above for the songs 'Together' and 'Forgotten.' 'Tomorrow' quietens the mood of the audience back down again as she sings it without her backing band, before 'Nobody's Fool' and 'My Happy Ending' bring the hour long set to a close.

As another backdrop is revealed, and white spots begin to dazzle the stage, Avril comes back onto stage ... and takes to the drums! Playing them extremely well for the entire Weezer song 'Hash Pipe' (sung on lead by opening act Butch Walker (of the Marvelous 3), Lavigne takes center stage one last time for the only song left to sing - the song that started it all back three long years ago, 'Complicated.'

Then, as the last chord sounds out, she waves goodbye: "Thank you, everyone, and have a good night. Thank you," before she's finally gone and the piped in arena music along with the house lights are quickly turned on to allow everyone to see where the exits are!

Review and Photos by Russell A. Trunk

Singer/songwriter Michael Bolton had an extensive, though not very successful, career under his real name, Michael Bolotin, before emerging in the mid-'80s as a major soft rock balladeer.

These days, although not selling out his shows like he used to back through the '80s and early '90s, the man is still a powerful musical vocal presence. Tonight, in front of a third-full outdoor auditorium, Bolton ensured that fans of all his range of performances enjoyed their night - even if it meant that 95% of his set were covers!

Taking to the stage, dressed smartly head-to-toe in black (ala the Johnny Cash of soft rock!), Bolton casually waved to his audience before quietly launching into his '93 hit 'Said I Loved You, .. But I Lied.'

'Soul Provider,' is then followed by a bunch of classics from different eras as songs such as 'To Love Somebody,' Otis Redding's 'Sitting On The Dock Of The Bay,' and the uptempo '(Hold On) I'm Coming.' Making the comment about his new album Vintage that "... the irony of this album is that all the composers are now decomposing!", Bolton then sedates the feisty crowd with the laid back cuts 'You Don't Know Me', Gershwin's 'Summertime', and the Billie Holliday co-written classic 'Daddy's Little Girl'.

With his short hair as gray as gray could be, the upper-class lounge-act crooner banters back and forth with the crowd; his story of nearly missing the plane journey tonight due to back issues a constant; their continual cries for him to remove his jacket, shirt, and everything else an ongoing stream of chatty fodder for the man in black.

The well-received 'Georgia On My Mind' is next, followed by the inspiring 'Go The Distance', but it's the last song of the first set, 'Nessun Dorma' (from his underated My Secret Passion album of '98) that gets everyone to their feet, their hands clapping like demented chipmunks on crack! With Bolton's bombastic style relatively well-suited to arias, it was truly an unbelievable performance and one to have given praise for just to have witnessed live.

For the second set, Bolton, now dressed more casually in a black T and blue jeans, first appears behind a screen; silhouetted and singing the Sam Cooke classic 'When A Man Loves A Woman' before he finally gives his soft rock fans something to sing and dance to. 'How Can We Be Lovers' and 'Time, Love & Tenderness' are two songs that really allowed the early '90s Bolton to shine tonight, but leaving us with the jam session song 'Rock Me Baby' probably wasn't the best way to bring the show to a close. More of his power pop would have been definitely appreciated, per the crowd’s reactions, but nonetheless a wonderful evening was had by all ... and inspired by an entertainer supreme.

Throughout his career, John Mellencamp has had to fight, whether it was for the right to record under his own name or for respect as an artist. Of course, he never made it easy on himself.

Tonight, however, it seems that life is just rollin' along very comfortably for the man born in Seymour, IN. A bare-of-color, non-complicated stage stands alone, quiet, awaiting the arrival of the Cougar and his band. 12 revolving lights that will later cast the colors needed hang low, and menacingly from the upper reaches, while still more stand scattered around the stage.

Come show time, and it's a young Marlon Brando movie clip that brings everyone's attention to the screens, allowing the house lights to dim, the band silently making their way onto the stage.

Dressed impressively in a dark two-piece suit, white shirt, clean black shoes, Mellencamp starts off the long set with 'Small Town' before heading straight into both 'Love & Happiness' and 'Minutes To Memories.'

As usual, this tour is a greatest hits tour and nothing from his latter day albums will (seemingly) ever make it out through his microphone! 'Lonely Ol' Night' is his first song where we relinquishes his guitar, unbuttons his shirt, and prepares to stay awhile.

Bringing back opener John Fogerty for a couple of forgettable front-stage duets, Mellencamp's quickly solo again and into the lesser-played 'Rain On The Scarecrow.' The new single for the Words & Music hits package, 'Walk Tall' is next, followed by an orange-drenched hue to the set closer 'Paper In Fire'.

During the quick set break, we get treated to a rather wonderful video flashback montage of all Mellencamp's past appearances, from 1980 to 2005 ... before he's back on stage, refreshed, and singing 'I Need A Lover.' Now dressed in a less formal black T, the once-Cougar musically power surges the crowd with a four-pack of Americana: 'Authority Song,' 'Jack & Diane,' 'Crumblin' Down' and 'R.O.C.K. In The U.S.A.'

Bringing the show into the final bend, the accordion player sings the opening verse to 'Hurts So Good' before an extended version of 'Pink Houses' (and a band introduction) finally allow the stinging in people's hands to subside!

Paying mention to the fact that the next song was the first time since 1970 that he had played it in full - and that it was written around the time he thought he was going to be a soul singer like Mitch Ryder - Mellencamp's clap-along 'Check It Out' is brought to the fore. Closing with 'Cherry Bomb,' after some aggressive waves goodbye, the man leaves the stage, the arena music fills the air, and we have to trudge back to our cars along with the 22,000 other people ... as no encore means no get-out-ahead-of-time scenario, my friends!

Playing The Shelter, a tiny no-windowed, no-air basement located under a small Detroit club might have given even the weakest of bands the lame chance to cancel due to 'unforeseen circumstances' ... but not Embrace! Sure back in Britain they play regularly to 10,000 plus each time they take to the stage, but here, in front of just 65 people, they played their hearts out like perhaps they never have done.

Touring in America for the first time in 9 long years of being together, Embrace - with their epic intentions and heartfelt emotions pouring out through each and every lyric - took to the ultra small stage at 8.10pm and never stopped singing for over an hour and a half.

The critically acclaimed quintet, fronted by the brothers McNamara (Danny on vocals and Richard on lead guitar) and featuring Steve Firth on bass, Mick Dale on keyboards and Mike Heaton on drums, began their hot, sweaty set with the uplifting 'Ashes' before heading into 'All You Good, Good People.'

'My Weakness Is None of Your Business ' was yet another track from their 1998 UK album The Good Will Out, before the new track 'Someday' is sung to the vocal praise of the crowd.

Danny's stage presence is trapped, his posing humbled by the lack of space to reach out into, his prowling stance curtailed and - so it seems - annoyingly under control. His voice creaky at times in these early moments, he never stops from outreaching his right arm, mic in hand, eyes shut tight, as if enticing whoever was closest to it to have their own private sing-a-long.

In a fashion rather akin to VH-1 Storytellers, Danny fully explains where their hit song 'Gravity' came from (and more importantly, from whom) before launching into it - head first and any throaty caution to the wind. "I know it's hot," he says afterwards "but I want you all jumping up and down to this next song." After a overly-lengthy ramble about a barn dance back in his youth, Danny finally succeeds in enticing half the room into doing what he asked; the room temperature so high now that even the thought of the evenings humid air outside seemed enticing!

'New Adam New Eve' taken from their 2000 album Drawn From Memory is next, 'Come Back To What You Know' follows, before a few songs later a wildly extended version of 'Out Of Nothing' brings the set to a close; guitar laid Townsend-style against the speakers to sound out that last reverberating note.

Quickly back for an encore, they tampered with some homestyle beats by presenting their version of D12's 'How Come' - a version that while still retaining some semblance of rhythm, without Eminem's vocal tone wafted aimlessly in the air - before ending their stage time with the heart-pumping, and crowd pleasing 'The Good Will Out.'

Make no doubt about it, Embrace are the magnificent result of nine years of hard work, a force so huge, so driven by the brothers McNamara that very soon America will not be able to find a venue big enough to house their musical talent.

Duran Duran personified new wave for much of the mainstream audience. And for good reason, too. Duran Duran's reputation was built through music videos, which accentuated their fashion-model looks and glamorous sense of style. The clever videos helped make Duran Duran's rise to popularity remarkably swift between 1982 and 1984.

But their fall from grace was equally fast. By the late '80s, the group's line-up had fragmented, and the remaining members had trouble landing hit singles. Nevertheless, the group pulled off a surprising, if short-lived, comeback in the early '90s as a sophisticated soft rock trio, before finally garnering all the original members back last year and launching one of the comeback tours of the modern era.

As the heartbeat white spot lights rhythmically pound, one by one all five original members of the British band walk to the front of the circular stage. Covered still by the dark blanket of unlit suspense, the beats of the spots increase until one by one the band walk to their chosen instruments - leaving Simon LeBon alone at the mic.

Yelping into the mic, '(Reach Up for The) Sunrise' is the first song of the night, though it has to be said (from the overall reaction of the crowd) that a medium-sized Duran hit would have been more expected (nay, appreciated!) by the near sold-out crowd. Dressed in a black suit, white shirt, and black tie, LeBon is noticeably slimmer than previous years. Making good use of the entire stage, he doesn't so much as prowl like olden days, moreover struts his way to his adoring fans.

"Detroit, how are you tonight?" he asks, the many responses lost in the following opening bars of 'Hungry Like The Wolf' - which, come the last chorus, also featured the one and only time that LeBon ran from the back of the stage, leaping on through the drum and keyboard sets, circa 1986! Next, 'Hold Back The Rain' is introduced by John Taylor asking the crowd, "Can anybody tell me where we are?!", which in turn is backed by the lackluster 'Astronaut.'

"It's so nice to be in front of you tonight," LeBon admits. "I feel a lot of love coming off the crowd tonight," he adds, before heading into the nu-Duran classic, 'Come Undone.' A disjointed rendition of 'Waking Up The House' messily merges into 'I Don't Want Your Love,' before LeBon removes his jacket and, now sitting side stage on a stool, sings the new track 'Chains.'

Easily the best track of their new album, 'What Happens Tomorrow' finally gets the crowd thinking that perhaps they should indeed buy the Birmingham (UK) boys latest CD, but complete with purple lights, their first ever single 'Planet Earth' immediately plunges them all back into the early Eighties! Seemingly never without a cigarette hanging from his mouth, Andy Taylor is at one with his speakers, aiming his guitar directly into them at any given moment to enhance the riffs. Roger Taylor on drums is casual, non-smiling, noticeably pensive as to what all the commotion is still all about after all these years, and Nick Rhodes, well, he's simply the cool, calm, heavily make-upped mannequin that he always was! Bassist John Taylor is another cool character, but just doesn't seem to be the focal point that he once used to be. Craving the sanctuary of his own side mic, he rarely confronts the central limelight, instead allowing the show to go on around him.

After a rather boring instrumental allowing LeBon a dress change, he comes back to the strains of 'The Chauffer' - dressed as, yep, a Chauffer! The song is greeted with rapturous appreciation by most of the crowd, some younger fans obviously bemused as to its origins. Dedicating the next song, 'Ordinary World,' to the memory of Ron Taylor, the just-passed father of Andy, they follow that with a rather weak version of 'Save A Prayer,' 'Bedroom Toys,' and the song that finally gets everybody back on their feet, the under-rated 'Notorious' - which mysteriously features the chorus line of Sister Sledge's 'We Are Family'!

Seemingly high on his own thoughts, LeBon tells the crowd, "Do you know what the best thing about you guys is? Well, the best thing about Detroit is that you're all so f**kin' nice!", before running through the bland track 'Nice.' 'Reflex' is next, followed very quickly by a tired version of 'Careless Memories,' although the backing video (a rare treat on this tour) of the much-younger guys saving Tokyo from a Godzilla-type monster, space ships and huge robot warriors ... with their instruments ... was worth its weight in visual gold!

'Wild Boys' brings the show to an end, but there's not much downtime backstage before the guys are back out and crucifying the Grandmaster Flash hit 'White Lines (Don't Do It).' Now wearing one of his own '1987' tour Ts, a light-bulb flashing start to 'Girls On Film' is performed next. And just when the extended version was seemingly wandering, LeBon stops to introduce the band ... and the fabulous female backing singer, Ms. Anna Ross.

After a worrying clip of 'Groove Is In The Heart' is messed with, the last song of the night, 'Rio' is unveiled and as if sensing this was their last time to show true adoration to their idols, everyone is now up on their feet. Bringing the show to a close, coming to the stage once again in unison, Duran Duran may not have devilish youth on their side, but they have longevity, they have conviction, and they have arena after arena of fans that will be there for them no matter what. Tonight, for sure, the boys were back in town and no daughter's had to be locked up ... a few mothers, perhaps, but that's a whole different story!