"Roll Me Up And Smoke Me When I Die Tour"March 3, 2015
Ryman Auditorium
Nashville, Tennessee
SETLIST:
Whiskey River
Still Is Still Movin' To Me
Beer For My Horses
Good Hearted Woman
Funny How Time Slips Away
Crazy
Nightlife
Down Yonder (Instrumental)
Texas Flood
Mamas Don't Let Your Babies Grow Up To Be Cowboys
Angels Flying Too Low To The Ground
On The Road Again
Always On My Mind
Nuages (Instrumental)
Jamabalya On The Bayou
Hey Good Lookin'
Move It On Over
Georgia On My Mind
Georgia On A Fast Train
Shoeshine Man
I Never Cared For You
Will The Circle Be Unbroken
Roll Me Up And Smoke Me When I Die
I Saw The Light
La La La Song (featuring local legend, Judge John Brown)
September 16, 1984
Blossom Music Center
Cuyahoga Falls, Ohio
January 28, 2022
Venetian Hotel and Casino
Las Vegas, Nevada
"25th Anniversary Spirit Trail Tour"December 8, 2023
Van Wezel Performing Arts Hall
Sarasota, Florida
The advertisement for Bruce Hornsby’s 2023 Tour featured the cover of his 1998 Spirit Trail album. It was a freaky guy lighting a cigarette in his ear. We later learned it was a vintage photo of Hornsby's uncle Charles, and it was a window into what we were about to experience.
Our tickets were originally for November 9th, but Hornsby had blown out his voice as his year-long tour was wrapping up, and on doctor’s orders, needed to take three weeks off to rest. In appreciation, everyone who came to the rescheduled event received a free copy of Hornsby’s 25th Anniversary Spirit Trail three-CD box set.
When we arrived at our seats, we noted there was nothing on the stage except a Steinway concert grand piano and a small effects rack (with foot switch) covered in black cloth inconspicuously tucked behind it. No set list was visible. This was going to be more of a recital than a concert.
Ushers whispered to us to provide them with requests, because Hornsby would play them throughout the show. Tam and I glanced at each other and then dove into our phones, looking for that obscure album track that might impress him. Instead, we both saw a song that we really liked, and I wrote the request on the back of my ticket sheet.
At 7:35 pm, a lanky Bruce Hornsby slowly ambled on stage in a scoop-neck navy sweatshirt, gray sweatpants, black ankle socks and gym shoes. He looked slightly road-worn and his gangly mannerisms approaching the piano reminded me of Jimmy Stewart.
He sat down, and at the sound of his first notes, we knew this was going to be terrific. From our close vantage point, we could see his face as he played, alternating between intense concentration and abject joy. We could hear him quietly humming along with the music and occasionally utter an ‘ooooweee’ when he impressed himself during a challenging passage.
He opened with 20/20 Vision. This song, like all of them that night, was lyrically brilliant and rich with visual references. Hornsby was all over the keyboard, playing with a ‘tired virtuosity’ blending incredible skill with the occasional missed note that seemed to fit perfectly into his performance. He required sheet music for Ligeti Etude #13 due to its complexity, and then impishly showed us the pages after he played it. Another number, one entitled Non-Secure Connection about computer hacking, was incredibly atonal and captivatingly difficult to play. He said it took him a year to learn how to play the first page.
He spent several moments giving us background on each piece, often with eccentric and humorous spin. It turns out the guy was hilariously acerbic beneath that low-key exterior. He explained that he enjoyed giving his work, particularly his well-known stuff, new arrangements to keep things interesting, such as a version of The Way It Is he did for a Spike Lee project a few years ago.
Then he looked around for request slips and the usher handed him my request. He read it and said, “Oh yes, here’s a good one," and performed The End Of The Innocence, a collaboration he had written with Don Henley. It was his most emotive work of the night and he played it straight, exactly as on the record.
He paused and chatted with the audience, explaining that he was ready to go home. Sarasota was his final stop on the tour after eleven months on the road. He described himself as 'burnt to a crisp.' He looked tired and his voice was fragile throughout the night, but the care in his delivery seemed to add a warmth that pulled all of us in to listen more intently.
He played all the hits; The Valley Road, Mandolin Rain, and a piano/dulcimer arrangement of Every Little Kiss. The amazing two-hour musical journey encompassed a melange of music, ranging from rock and avant-garde to classical, bluegrass, and jazz. He lingered for two encores before picking up his recital sheets, tucking them under his arm, giving us all a wave, and heading home.
It was an utterly fascinating and unforgettable performance.
Postscript: Bruce Hornsby wrote his own review of the concert on his Facebook page ... "I love the Van Wezel. Sonic clarity and balance onstage and in the hall, can be elusive in concert halls (for instance, be careful using rock drums at Carnegie Hall, it was not designed for that!), but I now have two very strong experiences in this one, making this a perfect spot for the last show of 2023.
A request for "Heir Gordon"! I hadn't played it in years, but (mostly) remembered all the moves and changes. The audience reacted in a big way to the levity, leading me to double up with "What The Hell Happened'! And it's true - seeing the beautiful pics of my movie-star looking parents made some people look at me with sympathy (and/or derision)!!
After a (hopefully) fun upcoming sit-in and a little recording for Gibb, there's a slight holiday break and then on to an extremely busy 2024."
SETLIST:
20/20 Vision / A Night On the Town
Sneaking Up On Boo Radley / Twelve Tone Tune / Ligeti Etude #13
Sidelines
The Way It Is (Goldberg Variations - Spike Lee)
Continents Drift
Living In The Sunshine
The Road Not Taken
The Valley Road (Grateful Dead arrangement)
The End Of The Innocence
Non-Secure Connection
Every Little Kiss (Ricky Scaggs arrangement)
Heir Gordon
What The Hell Happened
Cyclone
Harbor Lights
Mandolin Rain
The Show Goes On
ETTA JAMES, J. GEILS, MAGIC DICK, ELVIN BISHOP
September 4, 1995Then we were informed that Etta James had become ill on her bus and could not perform.
An anonymous man walked out with a folding chair and set it in the middle of the stage, near the front edge. The crowd began to mumble in anticipation. B.B. King slowly ambled out and sat in it and never moved for the next hour. He began to play, periodically looking back at hios backing band, and frequently hitting that sweet high vibrato note that had made him famous. Then began the most amazing procession of older ladies, forming a line along the stage, stopping in front of 'the King' and leaving gifts of intimate apparel that began to pile up in a fairly large mound in front of him. It was like watching a religious experience of some sort.
"Sports Tour"August 3, 1985
Alpine Valley Music Theatre
East Troy, Wisconsin
August 14, 1987
Alpine Valley Music Theatre
East Troy, Wisconsin
"Soulsville Tour"
Van Wezel Performing Arts Center
Sarasota, Florida
1987 SETLIST:
Jacob's Ladder
Naturally
I Never Walk Alone
Walking On A Thin Line
Hope You Love Me Like You Say You Do
Bad Is Bad
If This Is It
Hip To Be Square
I Want A New Drug
The Power Of Love
Doing It All For My Baby
Buzz, Buzz, Buzz
Heart And Soul
Small World
Workin' For A Livin'
Heart Of Rock N Roll
Stuck With You
Back In Time
Early June, Every Year
Music City Center, Downtown, and LP FieldNashville, Tennessee
The Palace of Auburn Hills
Auburn Hills, Michigan
No Man's Land
Pressure
The Ballad Of Billy The Kid
Lullabye (Goodnight, My Angel)
River Of Dreams
Prelude/Angry Young Man
My Life
You May Be Right
Allentown
I Go To Extremes
An Innocent Man
The Downeaster Alexa
Goodnight Saigon
Scenes From An Italian Restaurant
Purple Haze
We Didn't Start The Fire
It's Still Rock And Roll To Me
Only The Good Die Young
A Matter Of Trust
Big Shot
Piano Man
April 28, 2024
Plaza Live Theatre
Orlando, Florida
I will begin with my conclusion: Mac McAnally is an absolute gem and it was an incredible priviledge to attend one of his shows.
For decades, we knew McAnally as Jimmy Buffett's number two man in the Coral Reefers. He was rock steady while all the crazy shennanigans were happening on stage. His song, It's My Job, was always a favorite during those concerts.
Then I gradually learned that he was a gifted songwriter and producer, drafting and singing hits with Alabama, Sawyer Brown, Ronnie Dunn, Ricky Van Shelton, and Kenny Chesney. The respect for his talent within Nashville ran so high that he was voted ten-times as Country Music Association Musician Of The Year. Only two musicians have earned that honor that many times (Mac and Chet Atkins).
Yet, despite all of this, it seemed that his low-key, self-effacing manner, precluded him from achieving the fame that he should. We learned that he was touring throughout Florida (his first after the passing of Buffett), playing intimate venues, and we thought it might be an interesting time to experience McAnally in his own right.
The Plaza Live Theatre in Orlando opened for seating at 6:00 pm, and we were among the early arrivals. The venue manager placed wrist bands on us. We asked what they were for and she told us that there was a free meet and greet after the show for the first 250 attendees. How cool was that?!!
The theatre had a capacity of 900 and McAnally's show was a sell-out. As fans began to arrive, it was clear that a significant majority were Parrotheads. This was very apparent by the cans of Pabst Blue Ribbon and White Claw being consumed. The audience was ebulent with anticipation, singing along with the pre-show music. The stage was set for two people, given the simple arrangement of guitars and percussion.
At 7:10 pm, Mac shuffled out from stage left to a huge outburst of applause. He graciously stood and briefly took it in before strapping on a nylon string acoustic. He articulated that this was a special moment, and that he would be 'bragging on' about Buffett all night. He had spent nearly forty years at his side and wanted to share some of the more compelling experiences he had enjoyed with the legend. Mac opened with Son Of A Son Of A Sailor. His baritone voice was strong, yet warm, and his fingerpicking was phenominal.
For his third song, he walked a few steps and sat down at an electric piano. He said that was the extent of the choreography for the night. The audience erupted. The entire evening was chock-full of little ditties like that. Then he said that Jimmy loved outdoor gigs in 'sheds' but that occasionally foul weather might threaten a show. Mac testified that Buffett would gather the band and go onstage before the show (in the empty venue), stand in a circle and sing Somewhere Over The Rainbow to ward off storms. He swears that it worked more than once. Then he played a superb piano version of the song before hammering the introductory chords to Grapefruit Juicy Fruit. Again, the audience exploded in celebration, many with their Blue Ribbon cans held high.
He dedicated an exquisite acoustic rendition of Come Monday to Jane Buffett, the person for whom the song was written and followed it up with a new collaboration that he and Zac Brown had completed for the Jimmy Buffett Hollywood Bowl tribute concert, entitled Pirates and Parrots ...
So adios, my friend.
Anchor where that ocean ends.
We'll pick up where you left off,
strummin' a sailor song.
We'll hold down this salty rock,
where it's always 5 o'clock.
When the sun goes down, we raise our drinks,
all the pirates and parrots sing.
For someone living larger than life, McAnally's sincerity and humility were entirely genuine. Who else would wear a guitar strap that said 'nobody'? His stage presence and story-telling were both charming and charismatic, and he held our complete attention throughout the entire show.
Eric Darken, the percussionist, dutifully played a cornucopia of instruments, including pots, pans, and even a Mercedes hubcap. His accompanyment provided the perfect syncopation for Mac's guitarwork.
McAnally thought that Buffett probably knew he was dying as he made his final album. He said there was a determination in him to get it done right, and he pulled in all of his markers to get Paul McCartney, Emmylou Harris, Will Kimbrough, and even the Preservation Hall Band to contribute to the album. He heard the final product and was very proud of it.
Mac McAnally shares a story about Jimmy Buffett's
desire to be a Navy Seal and performs Bubbles Up
Mac spoke of his journey to Long Island at the end of August 2023. He was in a Texas studio with George Strait when he got the call. He immediately flew to be by Jimmy's side, and he was welcomed by Jimmy in bed, with the usual huge smile. Mac said that his emotions were getting the better of him, until Buffett's daughter Savannah handed him a guitar, and he played the first song they ever played together, It's My Job. It would be the last song they sang together. But then he said that the end of the story wasn't so sad because Jimmy wasn't in one place anymore ... he was everywhere now! The audience rose to its feet and cheered.
He finished the show with a performance of A Pirate Looks At 40. It was an affectionate and fitting close to an incredible night.
We were ushered to a room beside the auditorium and waited a few minutes before Mac stepped out to visit with us personally, sign autographs, and take pictures. His patience and kindness were palpable. He was indeed an absolute gem.
SETLIST:
Son Of A Son Of A Sailor
Blame It On New Orleans
Over The Rainbow / Grapefruit Juicy Fruit
This Time
Meanwhile
Down The Road
Come Monday
Pirates And Parrots
Pencil Thin Mustache
All These Years
Little Martha / Dueling Banjos
Junk Cars
On Account Of You
I Heard It Through The Grapevine
Back Where I Come From
Bubbles Up
It's My Job
A Pirate Looks At 40
Pompano Beach AmphitheaterPompano Beach, Florida
April 6, 2024
Estero, Florida
REO Speedwagon keeps the fire burnin' for 1980s arena rock, and it was alive and well at the Pompano Beach Amphitheater in 2023 and Hertz Arena in 2024.
In my opinion, REO Speedwagon was an under-rated supergroup. They are not in the Rock and Roll Hall of Fame, despite being one of the biggest bands of the 1980s and selling more than 40 million records. Cynical music critics backhanded them with the moniker ‘mainstream rock’ … as if to insinuate that they were irredeemably banal. As lead singer, Kevin Cronin was so atypically low-key that he was often perceived as a rock and roll nerd. Whatever the reason, REO Speedwagon was never counted among rock's most elite bands; at least that’s how it seemed on MTV back in the day.
It wasn’t until decades later, while listening to an old American Top 40 episode, did I learn that REO Speedwagon was the biggest-selling rock band of both 1980 and 1981. I returned to their catalog with an open mind and was reminded that they produced more than a dozen recognizable hits … many of them massive rock anthems … filled with classic hooks and rich harmonies. The kind of ear-worm music that would play in your mind all day. It's hard to listen to Keep The Fire Burnin’ or Roll With The Changes and not find yourself singing them to yourself in the car hours later. Perhaps, it is why they continue to play to packed houses of loyal fans more than forty years after their initial acclaim.
The time had come for me to see them for myself.
