"Godspell" rocked the Peabody Friday night with all the explosive subtlety of a fireworks display. The 2013 incarnation of the 1970's rock sensation burst onto the stage, a suname of sound and color and beautifully pure rock.
Prepare your weird tribal makeup, hair feathers and neon what-zits: MGMT is coming to St. Louis, playing the Peabody Opera House on Tuesday, November 12th. And we want to send you there.
Irony is the last refuge of the contrarian rock star, and Steely Dan has made an art form of the sneer and the swerve. No one captured the shattered ennui of the '70s like Walter Becker and Donald Fagen, with music that rode between rock and jazz and with lyrics that dripped irony and were derived from the detachment of seeing the world through drug-colored glasses.
Middle ground doesn't exist when it comes to Bob Dylan shows. The response is either, "I can't believe I walked six blocks in the rain for this," or "I have printed set lists from every show he's played in the past five years! Do you want to see them?" I overheard both of those snippets within seconds of standing among the rain-besotted crowd in the Peabody's lobby.
Widespread Panic has an uncommon style of set creation show by show, touring extensively but never repeating a set, which was likely much more difficult before they had produced more than 11 studio albums worth of original music across over a quarter of a century.
Rigby brings home the gold! Once or twice in your lifetime, if you’re lucky, you may be blessed to see a performance that is iconic—that is simply perfect in every way.
It's kind of amazing that although I owned the Original Broadway cast recording of "A Chorus Line" as soon as it came out (when I was 15), am well acquainted with the script and the story (by James Kirkwood and Joe Dante), and know each number of the score (by Marvin Hamlisch and Edward Kleban) inside and out, I had somehow never managed to see a live production of it.