Thanks for coming back. Earlier this week, I wrote about my trip to Red Rocks Amphitheater to see Drive-by Truckers and Tedeschi Trucks Band. Today we look at…
After a concert of bands we’d never heard of, we went the complete opposite for concert number two: Foreigner, Def Leppard, and Journey. From “There Will Be Rock” to “There Will Be Stool Softeners.”
Once again, we missed the first band. Not due to any parking lot fiasco, because the concert was at AT&T Park in San Francisco, and there’s no parking there. And I don’t just mean at the baseball stadium, I mean in the whole city. Probably the better part of East Bay and South Bay, too. Parking is frowned upon in the Bay Area, because if cars could park then they couldn’t all be crossing the fucking Bay Bridge at the exact same time I’m crossing it every fucking time.
Oh, and probably some reason relating to the environment, as well.
Our delayed entry into this concert was twofold. First, as with Red Rocks, we once again encountered the dreaded long line. I kinda understand the long line at Red Rocks, which only has two entrances, but AT&T Park should have at least five or six. And I would think they have an infrastructure accustomed to processing tens of thousands of fans in a short period of time. Sure, it’s been four years since the Giants won the World Series, and their fans are notoriously fickle, such that the stands were only thirty-percent full most nights this season, but still, institutional memory’s got to have a shelf-life beyond three years, right?
Is this just what concerts are in the NSA States of America? If you want to see a band live, you must be suspect enough to have to go through a full body cavity search. And sticking your fingers up the assholes of fifty thousand screaming fans takes time. Got to be thorough.
But hey, Mr. Concert Security, would it kill you to change gloves once every ten customers or so? And one finger would’ve been plenty to find my IED. Be honest, the second finger is just for you, isn’t it.
But lines weren’t the main reason we missed the first band, and could only listen to hits such as “Cold As Ice” and “Hot Blooded” and “Double Vision.” And “Head Games”… And “I Want to Know What Love Is”… And, holy shit, Foreigner sings “Urgent,” too? Wow, this has been a great security line soundtrack. I had no idea Foreigner was so prolific. Why the fuck are they the opening band?
Sorry, where was I? Oh yeah, the main reason we were late to the concert. Because it started at six o’fucking clock on a Friday.
Who the hell starts a concert at 6:00? I know that the average age of their fans are more in line with happy hour than closing time. And sure, the new lead singer of Journey might have a curfew, but this is the Bay Area. Even if you count mass transit, I’m pretty sure it is impossible to get anywhere in the Bay Area by 6:00 on Friday. Like, even the bar around the corner from your work is occasionally a bridge too far. And quite literally a bridge too far, because you will probably have to pay a toll to go a block and a half.
So yeah, we knew we were going to be late, anyway. We already knew we’d be late when the Muni we were on, chock-full of the musk of aging rock fans, delivered us in front of the stadium at 6:15. Maybe, we hoped, there would be an opening band BEFORE Foreigner, and that’s why the concert starts so early. But nope, that’s definitely Foreigner rocking out on the other side of the brick facade. Or a damned good cover band.
Hey, I just thought of a great idea. Have a cover band open for the real band. Then you get to hear the songs you like twice, and hopefully (HOPEFULLY!) it’s better the second time around. Maybe the cover band could open with the real band’s finale, then work backward until you hear the final song of the cover band’s set twice in a row. Trademark this shit. Wait, I can’t trademark an idea? Can I patent it? I’m going to be a motherfucking millionaire with this shit.
I mean sure, I could be a millionaire by taking pretty much any cut of a multi-platinum tour. I don’t really need to be the master of the “Two-You/U2 Snake Draft Concert” to become rich. If Bono just wants to send me one percent of his next tour, cover band or no, I’d be cool with that.
We finally made it into AT&T Park during Foreigner’s last song. Which, coincidentally, is probably the last song I would’ve wanted to see live. I guess hearing it live through the throng of people in the walkways is good enough, because the people who built AT&T Park built it to look good on TV, not necessarily with the idea of tens of thousands of people attending. Hence the, I think, ten urinals in the entire park. Oh, maybe there are more, but you wouldn’t know it when you have to pee at a concert or sporting event and you miss half of said concert or sporting event.
But we eventually found our seats in time for Def Leppard to come out. I’ve always been kinda meh on Def Leppard. The old joke used to be “What has seven arms and sucks? Answer: Def Leppard.” But you know what? Now that I’ve seen them in concert, I realize how wrong I was. I take back every time I ever told that “seven arms and sucks” joke.
Because, it turns out that there are five members in Def Leppard, not four. So that means they have nine arms and suck. I apologize to the Academy and will never again say “Seven arms and sucks,” even if alliteration makes it way funnier.
Anyway, the band was fine. Nothing to write home about. Or a blog.
The drummer did look like he was going to keel over and die at any given moment. Of course, that could just be because he’s missing an arm and thus always looks like he’s lilting at an angle usually reserved for last call. But I don’t think it’s just that. He also wears industrial strength earmuffs, like he’s working on the tarmac at O’Hare or next to a steel furnace. And while proper ear protection is probably a good idea for someone who works around rock concert amplification on a nightly basis, it doesn’t really help the motif. You’re supposed to be a rockstar. This one goes to eleven, motherfucker. If you don’t want to hear your own shitty music, why the fuck would I want to?
They were cohesive, too. I think all five of them have been together since the beginning. The only lineup change they’ve had in forty years is the removal of one arm. That’s rare in a rock band, and it ought to be acknowledged.
So there, I’ve acknowledged it.
Also, I guess it was kinda cool to see “Unter, glieben, glauben, globen” said live. Something I never knew was on my bucket list.
Now onto the greatest thing about the Def Leppard show, which had nothing to do with the musicians on stage. It was the kid next to me. Maybe he was pushing thirteen or fourteen, but if I had to wager an over-under on his age, I’d say the kid couldn’t be much beyond twelve. But dude screamed at the top of his lungs and knew every fucking lyric. Pulled out his phone at the proper spot, ie “Love Bites.”
Little kids at old-fogey concerts aren’t new, of course. I once went to an Air Supply concert with eight-year olds who crooned “Making Love Out of Nothing at All” with absolutely no clue of the entendres. I don’t know if one can have a single entendre, but that song isn’t opaque enough to call it a double entendre. And I’ve forced my kid to listen to a certain temporary Sirus/XM state so much that when I was whistling a Christmas song a few weeks ago, she asked, “Daddy, is that you whistling or is it Billy Joel?”
The difference with Def Leppard kid was that his father seemed about as uninterested as one can be. He looked like I will look in a few years when my daughter forces me to the 2022 equivalent of Taylor Swift or the Jonas Brothers or Justin Bieber. Like, “Oh Jesus, can this torture go on any more?”
But this raises the question of where the hell this pre-teen came up with his love for a mid-eighties pseudo-rock/proto-hair-band? Is this going to happen to me? Is my daughter going to discover bands from my youth that I didn’t like then and still don’t like know?
“Daddy, Daddy, Pantera is coming to town.”
“Okay, just make sure you wait until the second verse of “Cemetery Gates” before you take out the cigarette lighter app on your phone.”
Of course, it didn’t take long to figure out what chaperone dude was getting out of the show. Because when Journey hit the stage, hoo boy, those two had their roles reversed. Twelve-year old couldn’t give less of a shit. Cell phones are made for Candy Crush, not illuminating the air for a ballad. Which again raises the question of how the kid loves Def Leppard and the adult loves Journey, but never the twain shall meet. Maybe they weren’t father and son. Maybe Def Leppard Boy’s parents were all too happy to pawn him off on Uncle Journey for the evening. But this again raises the question of HOW THE HELL DOES THIS KID LOVE DEF LEPPARD?!?
I know, I know. Get over it, Wombat. Move on to…
Journey. How was that quintessential Bay Area rock band fronted by a karaoke singer half their age?
Yeah, maybe I shouldn’t bank on that whole “cover band” idea. That, after all, is what Journey has become. But it’s the worst kind of cover band, because it’s a cover band with all of the original artists sans one.
And look, it’s not fair. A band is a band, and that includes all of its members. It’s totally not fair when a band comes to town, having replaced their drummer and their bassist, and nobody bats an eye. Heck, I think everybody in Lynyrd Skynyrd died, and their still touring to this day.
I mean, if Steve Perry grabbed four musicians off the street and went on stage calling himself “Journey,” I wouldn’t bat an eye. But the reverse is not the same.
Because there’s something about the lead singer, where you can’t really replace them. I know the Eagles are now touring with Vince Gill since their lead singer died, and I gotta tell you, I’m skeptical of that one, too.
The only band that replaced the lead singer successfully was Van Halen. But the key with Van Halen was that Sammy Haggar wasn’t trying to be David Lee Roth. He had a different voice, and the band had a different sound with him as their lead singer.
And there’s one more thing about Journey that doesn’t affect latter day Glenn Freys or David Lee Roths or Sammy Haggars, and that is that Steve Perry has one of the most iconic voices of all time. The only other person in history with as unreplicable voice as his is Frankie Valli. I can’t wait for “San Francisco Boys” to come out in another twenty years to give Journey the Four Seasons treatment.
And here, I want to be fair to Journey’s new singer. He’s got a damn good voice. He’s very, very close to Steve Perry. He’s almost too close, and we’ve got the auditory equivalence of that uncanny valley shit that made Tom Hanks so creepy in “Polar Express.”
And I think this is where the biggest problems come in. Unlike Haggar, the new Journey singer is trying to be Steve Perry. The phrasings, the stylings, the timing. I wasn’t kidding when I called it a karaoke band. Dude is singing it as if it’s on a teleprompter in front of him. And I’m not knocking him. He does a spot on karaoke version of Steve Perry. Which is saying something because, trust me, there’s a lot of really, really terrible Steve Perry karaoke singers out there. Myself included. Holy crap, that shit’s hard to sing. How the fuck does he do it? And Phil Collins is tough as shit, too. He’s just in between my normal and flasetto range.
And it’s totally understandable why they got this guy who can (almost) nail Steve Perry. Nobody’s going to go to a Journey concert if they can’t close their eyes and pretend. If Journey went the Eagles route and picked up, I don’t know, Garth Brooks or Toby Keith to sing lead, and said star-in-his-own-right tried to re-imagine “Don’t Stop Believin’,” they’d be lucky to sell out a county fair. So Journey pretty much had to do a YouTube search for the world’s best Steve Perry impersonator.
But at the same time, the new dude didn’t earn the lifestyle. He’s running around on stage, giving high fives to all the fans in the front row, despite the fact that those fans don’t have a clue who he is and are only here because he sounds like something else. His stage presence was just a little bit off. Part of it was his youthful energy compared to the rest of the aging rockers in the band. But part of it is a little of the “Freaky Friday” syndrome, where he’s a guy that went from the smalltime to the bigtime in a heartbeat. I know, I know, his Wikipedia entry says he was a big thing in the Philippines and I am thereby racist to say he’s lucky as balls to be in his current situation. But regardless, he hasn’t gone the normal rockstar route. He went straight to arena rock band. He was never a “singer in a smoky room, smell of wine and cheap perfume.” He just sort of sounds like the guy who has.
And that’s where the real problem comes. The dude is singing songs he doesn’t own. Somebody else wrote those lyrics. Somebody else put his emotion into them. And it’s not that I’m opposed to remakes. The Beatles did “Twist and Shout” better than the Isley Brothers and, as I stated last week, Bruce Springsteen has the only listenable version of “Santa Claus is Comin’ to Town.” But in most of those instances, the new singer has put their own spin on it. They might phrase something different. Hold out this word a little longer, hit this note a little louder, because that’s what they feel when they sing it, as opposed to the original recording. If you aren’t doing that, then you’re doing a cover, not a remake. And cover bands don’t play baseball stadiums.
It was most obvious in the song “Lights.” And maybe it’s particularly noticeable when it’s being sung in the city that the song is about. But look, I’m not a San Franciscan, and that city annoys me more often than it amazes me. But dude, how the fuck dare you have the balls to stand on the stage at AT&T Park and sing, “I wanna be there in my city”? Do you even know which team plays there? And of course, he stresses the word “my,” because he has to, because Steve Perry did.
What made it even more awkward was that they referenced Steve Perry before they sang one of that song. They referenced the fact that he lives in the area, and that he regularly comes to this very park to watch his favorite baseball team play. Said team used his song, and gave him a cush seat, for a good portion of their three World Series runs.
And when they referenced Steve Perry, they said “Maybe he’s here tonight,” at which point we all hoped he’d come out on stage. But they followed that up, hand like a visor on their foreheads, looking out at the audience with a “Steve, are you out there?” We all looked around as if maybe the person who’s the reason we’re all here might be sitting next to us. Maybe he’s the Journey fan next to me that brought his neighbor’s Def Leppard-fan son with him. But then Neal Schon just continues with, “We hope so. If you’re here, we love you, Steve.”
Wait, you don’t even know if Steve Perry is here? I know there’s some bad blood, but did you invite him? Leave him a ticket at willcall in case he shows up at the last minute? Does he even know you’re in town? Maybe he’s not on the Foreigner mailing list and he didn’t know.
And if you did leave him a ticket, where was the seat? Because when you asked if he was here, you looked way up in the nosebleeds. You couldn’t give him a better seat than the Giants do during the playoffs? How does Steve not merit a backstage pass? Maybe you shouldn’t have left the new lead singer in charge of checking on Steve Perry’s availability.
And all of these various drawbacks and oddities were rather obvious on the stage. It was as if there were two entities on the stage, the band and the lead singer. Both tolerated the other as a meal ticket, but neither really cared about being a cohesive unit. The band members introduced all of the songs, complete with the stories of how and when they were written. Then they’d walk to the back of the stage, and the lead singer would run up to the front and belt to his karaoke heart’s content, all the while prancing around the stage and high fiving the sloppy-second hands raised up to him at the precise moment he saw Steve Perry do the same thing on the 1982 tour video.
The last time I saw a singer and band this much at odds with each other, this distant and uninterested in each other, was 10,000 Maniacs. I saw them in Monterey on Memorial Day weekend, 1993. They split up in August of that year.
But hey, 10,000 Manics did a great cover of Bruce Springsteen’s “Because the Night.”
And I don’t see Journey going their “Separate Ways.” They all have that look. The one that says they know precisely which cash cow they are milking, and they will be doing that until the arenas stop filling. Which, based on the sales figures for Steve Perry’s recent solo album, is pretty much never.