By NANCY STETSON,
Tom Petty and the Heartbreakers rocked TECO Arena in Estero on Friday night with a high-voltage set that provided hit after hit after hit.
Noting that it'd been a while since they'd played Florida, Petty announced: "Tonight we're going to try to make our way through our catalog and play all the old things as well."
And they did, even throwing in a tune from Petty's stint as a Traveling Wilbury.
They played "The Last DJ," the title cut from the most recent CD, but the bulk of the evening was devoted to the songs that made Petty and his band headliners for almost three decades.
They opened with "American Girl," and the crowd was on its feet. Then, when they followed it up with "You Don't Know How It Feels," the crowd joined him in a call-and-response. And on songs such as "Free Fallin' " and "Learning To Fly," they spontaneously sang along with him on the lyrics and chorus.
Petty, obviously pleased with the crowd's enthusiastic responses, commented at one point, "Yeah, we got a loud and crazy bunch tonight."
And in fact, the crowd was far rowdier than the band, who, for the most part, played the songs with a low-key, relaxed approach. Tom Petty and the Heartbreakers' performance was refreshingly absent of the typical displays of grandstanding and showboating many lesser bands are prone to, concentrating instead on the music.
There was no rock-star posing on the stage, just good old straight-ahead rock 'n' roll, played by a group of very talented musicians.
Petty was backed by Ben Tench on piano, Mike Campbell on lead guitar, Scott Thurston on guitar, keyboards and harmonica, Steve Ferrone on drums and Ron Blair on bass. Song after song, Campbell would step forward to provide some blistering guitar licks, as if reiterating what Petty had just sung. And Thurston's harmonica only highlighted all the more Petty's Dylan-esque vocals.
In introducing "The Last DJ" — which rails against the radio industry — Petty said: "This song was banned from radio the day it was released, which as a songwriter makes me feel very proud. I'm proud I have to thank you, the audience, for taking it to No. 1 on the Billboard rock charts."
Later in the night, Petty and the Heartbreakers presented reworkings of some of their classics, including a lyrical and tender version of "Don't Come Around Here No More" and a moving rendition of "Learning to Fly," which concluded with the crowd singing the chorus while Petty sang counterpoint, singing about flying over his worries and his troubles.
Sandwiched in-between was a new song, "Melinda," which hasn't been released yet. It included an extended piano/drum jam, which started out with a honky-tonk piano that slid into jazz.
This trio of songs was a highlight of the evening.
Unfortunately, those working the sound board cranked up the sound too loud for the small arena, causing the sound to bounce and echo and the people sitting behind me to complain about their inability to hear the lyrics.
Soul/gospel singer Mavis Staples opened for Petty with a 45-minute set that included "Will the Circle Be Unbroken" and "The Weight" as well as well-known classics from the Staples Singers such as "Respect Yourself" and "I'll Take You There."
Like soul/R&B singers Al Green and Sam Cooke, Mavis Staples has the ability to sing passionately about both human love and God's love.
Though the crowd was still filing in when she took the stage, Staples soon commanded their respect, belting out her songs and strutting across the stage. Staples scatted and improvised, her voice swooping and soaring, her church background highly evident. And every so often she'd just let loose with a gritty Janis Joplin-like wail, as if words failed her and she just had to let this sound out of her body.
By the end of her set, even those prone to talking during opening acts were cheering and dancing.
Showing posts with label 2003 Tour. Show all posts
Showing posts with label 2003 Tour. Show all posts
Monday, August 25, 2003
Sunday, August 24, 2003
Tom Petty’s music resonates with TECO crowd
By MARY WOZNIAK, mwozniak@news-press.comPublished by news-press.com on August 23, 2003
The California Cracker came home to his roots Friday night to a roaring welcome at TECO Arena in Estero.
Rocker Tom Petty, a Gainesville native playing the Southwest Florida venue for the first time, captured the crowd with his voice of rebellion untainted and unmellowed by nearly 30 years in the music business.
He may be 51, but the boyish image, though in a grown-up suit and claret-colored shirt, is still there.
If you squeeze your eyes shut you hear the still-fresh sound of a rocker railing at the world’s injustice. That’s the voice of rebellion. No frills. No vibrato. He’s just in your face.
The people in the audience: a mix of teenagers in pigtails, baby boomers and beyond.
There was Mark Robinson, 46, of Naples, who loves Petty’s music and lyrics, particularly, “If I Were King,” a song the rocker didn’t play this time around.
Robinson likes it because of the possibilities. It’s never giving up hope. Someday he may be king. “It’s a fantasy of most people. Power. Prestige,” Robinson said.
Petty is the urban troubadour who appeals to Everyman and his dreams. He may have moved to Los Angeles in 1974, but the soul of a Florida “Cracker” still remains with him, perhaps in his Southern roots and a country-western background, as seen in other songs like “Great Wide Open,” or the themes of love lost and a life of hard knocks.
Petty took the stage playing “American Girl” first, bringing the crowd to its feet., followed swiftly by the Dylanesque, “You Don’t Know How it Feels” (to be me).
With a blinding smile, he worked the crowd.
There are times he’s a dead ringer for Dylan, as in “Mary Jane’s Last Dance,” which the crowd sang with him.
But mostly he sounds like himself, the singer who seems to be straining to reach a key he shouldn’t be, but wants to. If the voice isn’t exactly musical, well, good. The message is in the song’s delivery and the lyrics.
Petty isn’t a deep philosopher. His messages are plain, simple and always in your face. They’re about the angst of the working man, love, breakups, heartache, the need for respect. They fit in as well in Buffalo, N.Y., as they do in Fort Myers.
He just won’t back down, by the way, the name of another anthem that brought the house down.
“I know what’s right
I got just one life
In a world that keeps pushing me around
I won’t back down”
The California Cracker came home to his roots Friday night to a roaring welcome at TECO Arena in Estero.
Rocker Tom Petty, a Gainesville native playing the Southwest Florida venue for the first time, captured the crowd with his voice of rebellion untainted and unmellowed by nearly 30 years in the music business.
He may be 51, but the boyish image, though in a grown-up suit and claret-colored shirt, is still there.
If you squeeze your eyes shut you hear the still-fresh sound of a rocker railing at the world’s injustice. That’s the voice of rebellion. No frills. No vibrato. He’s just in your face.
The people in the audience: a mix of teenagers in pigtails, baby boomers and beyond.
There was Mark Robinson, 46, of Naples, who loves Petty’s music and lyrics, particularly, “If I Were King,” a song the rocker didn’t play this time around.
Robinson likes it because of the possibilities. It’s never giving up hope. Someday he may be king. “It’s a fantasy of most people. Power. Prestige,” Robinson said.
Petty is the urban troubadour who appeals to Everyman and his dreams. He may have moved to Los Angeles in 1974, but the soul of a Florida “Cracker” still remains with him, perhaps in his Southern roots and a country-western background, as seen in other songs like “Great Wide Open,” or the themes of love lost and a life of hard knocks.
Petty took the stage playing “American Girl” first, bringing the crowd to its feet., followed swiftly by the Dylanesque, “You Don’t Know How it Feels” (to be me).
With a blinding smile, he worked the crowd.
There are times he’s a dead ringer for Dylan, as in “Mary Jane’s Last Dance,” which the crowd sang with him.
But mostly he sounds like himself, the singer who seems to be straining to reach a key he shouldn’t be, but wants to. If the voice isn’t exactly musical, well, good. The message is in the song’s delivery and the lyrics.
Petty isn’t a deep philosopher. His messages are plain, simple and always in your face. They’re about the angst of the working man, love, breakups, heartache, the need for respect. They fit in as well in Buffalo, N.Y., as they do in Fort Myers.
He just won’t back down, by the way, the name of another anthem that brought the house down.
“I know what’s right
I got just one life
In a world that keeps pushing me around
I won’t back down”
Friday, August 22, 2003
Petty project heartwarming rather than heartbreaking
BY STEVE HEISLER CORRESPONDENT
Tom Petty's musical lamentations on how the world is and how he wishes it to be mark his most recent musings behind the mike.
So while dyed-in-the- wool fans of the sunglass-wearing, blond-haired showman will call for the familiar chords of "Mary Jane's Last Dance," they should prepare for anger-filled rants against music industry realities. All are delivered in the form of not-always-refreshing ballads that have become Petty's trademark.
There's enough new material here, however, off 2002's "The Last DJ" to keep concertgoers from worrying that this Florida native has lost his songwriting edge 25 years into a sterling career.
His thoughtful ruminations and occasional rants include the title cut, a relatively predictable lyrical painting of that final on-air personality who clings to his freedom of choice.
That's the thing about Petty; his material resonates lyrically even as it begins to sound too eerily similar. His sarcasm-laden lament on an industry driven solely by cash, "Money Becomes King," utilizes chord progressions that do more than hint at what distinguished "It's Good To Be King."
The quietly reminiscent "Dreamville" shows an introspective side. It is just a break from the guitar-and-keyboard-driven tale of the tradeoffs involved in developing a rock star's image in "Joe."
All of the usual suspects contribute to Petty's new project, with Benmont Tench displaying the keyboard mastery that has defined his career. It was the return of a former Heartbreaker, however, bass player Ron Blair, that helps set the tone for two of the band's finest new songs.
In the prayer-like yet powerful "Lost Children," Petty's pleas for finding the youthful dispossessed are enhanced by Blair. He demonstrates his talent again in the Beatle-esque hopeful anthem "Can't Stop the Sun."
Those cuts illustrate the side of Petty he is most comfortable presenting now: an artist who is concerned about a lot but whose ultimate insights involve a few positive solutions.
For Petty, it may indeed be "good to be king" -- but it's even better to be a man more at ease with himself and the world around him.
Tom Petty's musical lamentations on how the world is and how he wishes it to be mark his most recent musings behind the mike.
So while dyed-in-the- wool fans of the sunglass-wearing, blond-haired showman will call for the familiar chords of "Mary Jane's Last Dance," they should prepare for anger-filled rants against music industry realities. All are delivered in the form of not-always-refreshing ballads that have become Petty's trademark.
There's enough new material here, however, off 2002's "The Last DJ" to keep concertgoers from worrying that this Florida native has lost his songwriting edge 25 years into a sterling career.
His thoughtful ruminations and occasional rants include the title cut, a relatively predictable lyrical painting of that final on-air personality who clings to his freedom of choice.
That's the thing about Petty; his material resonates lyrically even as it begins to sound too eerily similar. His sarcasm-laden lament on an industry driven solely by cash, "Money Becomes King," utilizes chord progressions that do more than hint at what distinguished "It's Good To Be King."
The quietly reminiscent "Dreamville" shows an introspective side. It is just a break from the guitar-and-keyboard-driven tale of the tradeoffs involved in developing a rock star's image in "Joe."
All of the usual suspects contribute to Petty's new project, with Benmont Tench displaying the keyboard mastery that has defined his career. It was the return of a former Heartbreaker, however, bass player Ron Blair, that helps set the tone for two of the band's finest new songs.
In the prayer-like yet powerful "Lost Children," Petty's pleas for finding the youthful dispossessed are enhanced by Blair. He demonstrates his talent again in the Beatle-esque hopeful anthem "Can't Stop the Sun."
Those cuts illustrate the side of Petty he is most comfortable presenting now: an artist who is concerned about a lot but whose ultimate insights involve a few positive solutions.
For Petty, it may indeed be "good to be king" -- but it's even better to be a man more at ease with himself and the world around him.
Free fallin' with Petty
Rock legend ready to light up Southwest Florida tonight
By MARK KRZOS, mkrzos@news-press.com
The consistency of hits that have poured out of Tom Petty for four decades are unrivaled in rock music.
On nearly every album he’s released since the mid-1970s, Petty has had at least one song crack the Top 20.
Perhaps even more stunning is that, while popular musical tastes have changed from rock to disco to punk to heavy metal to hip-hop, Petty’s sound has remained relatively unchanged.
“He’s a true classic rocker in the same vein as a Bruce Springsteen or Bob Seger,” said Mud, program director for The Arrow 94.5-FM.
Petty, 50, will perform with the Heartbreakers and opening act and leader of the Staples Singers, Mavis Staples, at TECO Arena at 8 p.m. tonight.
George Lawson, an Estero resident and rooms manager for the Quality Inn Golf Resort in Golden Gate, can’t wait.
“I’ve been a fan of his since I was 12 years old,” he said. “I just want to see him play some old stuff. I don’t care what it is. It’s all great.”
If you could combine all the best things about American rock ’n’ roll and throw it into a pot, the artist stepping out of the stew would be Petty, Mud said.
Tom Petty and the Heartbreakers formed in 1975, but their roots are planted among ’60s-era folk rockers Bob Dylan and Roger McGuinn.
In the 1970s, Petty became the South’s answer to the Northeast’s Springsteen, the Midwest’s Seger and the West Coast’s Eagles and Fleetwood Mac.
Born in Gainesville, Petty became interested in rock music after meeting Elvis in 1961. Years later, he quit high school at 17 to join Mudcrutch — one of the state’s top bands at the time — and follow his dream.
Mudcrutch broke up after moving to Los Angeles in search of a record contract.
Petty didn’t give up and was soon offered a solo recording contract by Shelter Records.
Nothing came of it until 1975.
Petty got together with future Heartbreakers Mike Campbell, Benmont Tench, Ron Blair and Stan Lynch after hearing a demo they had released. The five joined up, and Petty used his Shelter Records contract and released his eponymous debut album.
Initially, the album sold poorly, but it gained steam after a tour.
It wasn’t the South — or even the United States where Petty first found success. As an opening act for Nils Lofgren in England, Petty and the Heartbreakers floored the Brits, and the album soared up the British charts.
The song “Breakdown” was then re-released in the U.S. and broke into the Top 40 almost a year after its initial release.
Throughout the next several years, Petty became one of rock’s elite performers. In 1979, Petty and the Heartbreakers released “Damn the Torpedoes,” which is one of the most critically acclaimed records of all time.
The album, bolstered by hits such as “Refugee” and “Don’t Do Me Like That,” sold nearly three million copies and made it to No. 2 on the charts.
Petty’s hits didn’t stop coming, unlike those by his rock heroes, Dylan and McGuinn.
“When he releases an album, you know it’s going to have at least one hit,” said local fan Kevin Staszak.
Staszak, general manager for the Cleveland Avenue Boston Market, has tickets to tonight’s concert and considers Petty to be the quintessential American rocker. “He’s a very talented musician,” he said. “I’ve been a big fan for quite a few years.”
Throughout the early-to-mid 80s, Petty continued to flourish with hits such as “The Waiting,” “You Got Lucky,” and a duet with Stevie Nicks called “Stop Draggin’ My Heart Around,” which rose to No. 3.
Later in the decade, “Don’t Come Around Here No More” reached No. 13, and “Free Fallin’” went to No. 7.
“Free Fallin’” was recently ranked No. 39 by VH-1 in its list of the “100 Greatest Songs of All-Time.”
In 2002, Tom Petty and the Heartbreakers were inducted into the Rock & Roll Hall of Fame.
By MARK KRZOS, mkrzos@news-press.com
The consistency of hits that have poured out of Tom Petty for four decades are unrivaled in rock music.
On nearly every album he’s released since the mid-1970s, Petty has had at least one song crack the Top 20.
Perhaps even more stunning is that, while popular musical tastes have changed from rock to disco to punk to heavy metal to hip-hop, Petty’s sound has remained relatively unchanged.
“He’s a true classic rocker in the same vein as a Bruce Springsteen or Bob Seger,” said Mud, program director for The Arrow 94.5-FM.
Petty, 50, will perform with the Heartbreakers and opening act and leader of the Staples Singers, Mavis Staples, at TECO Arena at 8 p.m. tonight.
George Lawson, an Estero resident and rooms manager for the Quality Inn Golf Resort in Golden Gate, can’t wait.
“I’ve been a fan of his since I was 12 years old,” he said. “I just want to see him play some old stuff. I don’t care what it is. It’s all great.”
If you could combine all the best things about American rock ’n’ roll and throw it into a pot, the artist stepping out of the stew would be Petty, Mud said.
Tom Petty and the Heartbreakers formed in 1975, but their roots are planted among ’60s-era folk rockers Bob Dylan and Roger McGuinn.
In the 1970s, Petty became the South’s answer to the Northeast’s Springsteen, the Midwest’s Seger and the West Coast’s Eagles and Fleetwood Mac.
Born in Gainesville, Petty became interested in rock music after meeting Elvis in 1961. Years later, he quit high school at 17 to join Mudcrutch — one of the state’s top bands at the time — and follow his dream.
Mudcrutch broke up after moving to Los Angeles in search of a record contract.
Petty didn’t give up and was soon offered a solo recording contract by Shelter Records.
Nothing came of it until 1975.
Petty got together with future Heartbreakers Mike Campbell, Benmont Tench, Ron Blair and Stan Lynch after hearing a demo they had released. The five joined up, and Petty used his Shelter Records contract and released his eponymous debut album.
Initially, the album sold poorly, but it gained steam after a tour.
It wasn’t the South — or even the United States where Petty first found success. As an opening act for Nils Lofgren in England, Petty and the Heartbreakers floored the Brits, and the album soared up the British charts.
The song “Breakdown” was then re-released in the U.S. and broke into the Top 40 almost a year after its initial release.
Throughout the next several years, Petty became one of rock’s elite performers. In 1979, Petty and the Heartbreakers released “Damn the Torpedoes,” which is one of the most critically acclaimed records of all time.
The album, bolstered by hits such as “Refugee” and “Don’t Do Me Like That,” sold nearly three million copies and made it to No. 2 on the charts.
Petty’s hits didn’t stop coming, unlike those by his rock heroes, Dylan and McGuinn.
“When he releases an album, you know it’s going to have at least one hit,” said local fan Kevin Staszak.
Staszak, general manager for the Cleveland Avenue Boston Market, has tickets to tonight’s concert and considers Petty to be the quintessential American rocker. “He’s a very talented musician,” he said. “I’ve been a big fan for quite a few years.”
Throughout the early-to-mid 80s, Petty continued to flourish with hits such as “The Waiting,” “You Got Lucky,” and a duet with Stevie Nicks called “Stop Draggin’ My Heart Around,” which rose to No. 3.
Later in the decade, “Don’t Come Around Here No More” reached No. 13, and “Free Fallin’” went to No. 7.
“Free Fallin’” was recently ranked No. 39 by VH-1 in its list of the “100 Greatest Songs of All-Time.”
In 2002, Tom Petty and the Heartbreakers were inducted into the Rock & Roll Hall of Fame.
Tuesday, August 19, 2003
Petty's unadorned rock bridges generations in intimate setting
By Donnie Snow
Greeting a crowd sitting much closer to the stage than he's used to, Tom Petty's warm wave and trademark "What, me worry?" smirk enlivened a multigenerational audience that rarely sat Monday during the first of a two-night stand at the Orpheum.
Petty, performing with his equally wizened band the Heartbreakers, opened with the contemporary college jukebox classic An American Girl.
His and the Heartbreakers' expanding fan base is similar to what Neil Young sees at concerts, only more upwardly mobile, but maybe that's just a product of $75 ticket prices.
A real Memphis fan, Petty retold a story about how he got into music after an Elvis encounter in his hometown at age 11 (when Presley was filming Follow That Dream).
"I got to thank him for turning me onto music and changing my life," Petty said of the meeting. He then kicked into a Presley version of Ray Charles's I Got A Woman.
Although the tour supports last year's "The Last DJ," Petty played most of the songs you'd demand to hear at these ticket prices, plus some of his newer recordings. He also performed some interesting covers. The Howlin' Wolf classic Little Red Rooster was nearly as moving as Buddy Holly's Not Fade Away.
He debuted a new tune titled Melinda, a sad, almost lamenting song featuring some of the most sensational rock and roll piano of any song you'll hear on the radio.
Even more sensational is that Petty and the guys pulled off a total rock and roll show with nary a lean to any contemporary styles, trappings most rock bands of all sizes have a hard time dodging without getting classified as stagnant.
From About to Give Out, to Runnin' Down a Dream and all the way back to Refugee, the most remarkable sight of the hit parade performance was watching how amazed so many were when they realized that the someone next to them, so much older/younger than they, actually knew the words, too - and wasn't embarrassed to sing in public.
Greeting a crowd sitting much closer to the stage than he's used to, Tom Petty's warm wave and trademark "What, me worry?" smirk enlivened a multigenerational audience that rarely sat Monday during the first of a two-night stand at the Orpheum.
Petty, performing with his equally wizened band the Heartbreakers, opened with the contemporary college jukebox classic An American Girl.
His and the Heartbreakers' expanding fan base is similar to what Neil Young sees at concerts, only more upwardly mobile, but maybe that's just a product of $75 ticket prices.
A real Memphis fan, Petty retold a story about how he got into music after an Elvis encounter in his hometown at age 11 (when Presley was filming Follow That Dream).
"I got to thank him for turning me onto music and changing my life," Petty said of the meeting. He then kicked into a Presley version of Ray Charles's I Got A Woman.
Although the tour supports last year's "The Last DJ," Petty played most of the songs you'd demand to hear at these ticket prices, plus some of his newer recordings. He also performed some interesting covers. The Howlin' Wolf classic Little Red Rooster was nearly as moving as Buddy Holly's Not Fade Away.
He debuted a new tune titled Melinda, a sad, almost lamenting song featuring some of the most sensational rock and roll piano of any song you'll hear on the radio.
Even more sensational is that Petty and the guys pulled off a total rock and roll show with nary a lean to any contemporary styles, trappings most rock bands of all sizes have a hard time dodging without getting classified as stagnant.
From About to Give Out, to Runnin' Down a Dream and all the way back to Refugee, the most remarkable sight of the hit parade performance was watching how amazed so many were when they realized that the someone next to them, so much older/younger than they, actually knew the words, too - and wasn't embarrassed to sing in public.
Monday, August 18, 2003
Diddley serves up funky antics while Petty plays it safe with solid show
By CRAIG HAVIGHURST
To paraphrase George Jones, Bo Diddley don't need no rocking chair, and he doesn't need any Viagra either, if you can take his word for it.
OK, he did use a chair for much of his opening set at AmSouth Amphitheatre on Saturday night, but he said he has got something acting up and that boxy guitar he plays looks to weigh as much as a television set anyway. Moreover, before he was done with his 40 minutes of unbridled entertainment, he had gotten up (sans guitar), played one of his drummer's floor tom-toms like an African rite of passage and boogied enough to show he still had ample mojo at close to or over 75 years of age.
Diddley wasn't last night's ostensible main event. It was a Tom Petty and the Heartbreakers show after all. And that went extremely well, with a precisely played and vibrantly sung tour through his 25-year-old catalog. But on a night of filet-and-spuds rock 'n' roll, when Petty and company had umpteen-thousand heads bobbing, Diddley provided the funkiest surprises and the widest smiles.
Part of the intrigue in the set stemmed from the fact that this week's blackout, Diddley said, had stranded part of his band. So he borrowed the Heartbreakers rhythm section, forcing more on-stage listening and reacting than would have to go on in the rehearsed second set.
They started things off with the beat the artist virtually trademarked, bolstering the signature song that bears his name. He moved from Bo Diddley to Hey Bo Diddley to Roadrunner, while coaxing warbling electric organlike tone out of his guitar with a bare thumb and fingers.
Following his climactic drum solo, Diddley strutted and embarked on a saucy sex god rap in the pre hip-hop manner of Grandmaster Flash. ''Can we do it pretty baby, can we do it?'' he chanted, whipping up the crowd. Then he pushed his heavy horn rimmed glasses up his nose. It was priceless.
Petty looked to be in fighting trim when he whisked onstage at half past nine — clean shaven, clear-eyed and dapper in a black and red chalk stripe suit. The music, beginning with An American Girl and You Don't Know How it Feels, came off the same way: neat as a pin, stylish and put-together. It marked an interesting contrast to Petty's last Starwood appearance, which was reportedly rambling and strung out. As the night evolved, one wished for perhaps a little more of that unhinged feeling, but for those hoping to hear hearty hits well played, there was nothing lacking.
The highlights, as a result, were generally tantamount to the highlights of Petty's recording career — the jangly sway of Free Falling, the patient pulse of Learning to Fly and the organ-saturated artillery of Refugee. The only song from his most recent cultural manifesto of an album The Last DJ was the title track, which blasts homogenization of the airwaves. He offered up a new song of tortured obsession called Melinda, which evolved from dense folk ballad to complex piano solo, showing off the skills of the wonderful Benmont Tench. A sprinkling of blues (Little Red Rooster and a touch of Elmore James) rounded out a consistent hour-and-forty-minute set.
On the way out, some might have been ticking off the hits he didn't play — Breakdown, Listen to her Heart, Don't Do Me Like That and more — and thinking how it could have gone on for a while longer without strain. It was a pretty night that seemed ended prematurely by a noise curfew.
To paraphrase George Jones, Bo Diddley don't need no rocking chair, and he doesn't need any Viagra either, if you can take his word for it.
OK, he did use a chair for much of his opening set at AmSouth Amphitheatre on Saturday night, but he said he has got something acting up and that boxy guitar he plays looks to weigh as much as a television set anyway. Moreover, before he was done with his 40 minutes of unbridled entertainment, he had gotten up (sans guitar), played one of his drummer's floor tom-toms like an African rite of passage and boogied enough to show he still had ample mojo at close to or over 75 years of age.
Diddley wasn't last night's ostensible main event. It was a Tom Petty and the Heartbreakers show after all. And that went extremely well, with a precisely played and vibrantly sung tour through his 25-year-old catalog. But on a night of filet-and-spuds rock 'n' roll, when Petty and company had umpteen-thousand heads bobbing, Diddley provided the funkiest surprises and the widest smiles.
Part of the intrigue in the set stemmed from the fact that this week's blackout, Diddley said, had stranded part of his band. So he borrowed the Heartbreakers rhythm section, forcing more on-stage listening and reacting than would have to go on in the rehearsed second set.
They started things off with the beat the artist virtually trademarked, bolstering the signature song that bears his name. He moved from Bo Diddley to Hey Bo Diddley to Roadrunner, while coaxing warbling electric organlike tone out of his guitar with a bare thumb and fingers.
Following his climactic drum solo, Diddley strutted and embarked on a saucy sex god rap in the pre hip-hop manner of Grandmaster Flash. ''Can we do it pretty baby, can we do it?'' he chanted, whipping up the crowd. Then he pushed his heavy horn rimmed glasses up his nose. It was priceless.
Petty looked to be in fighting trim when he whisked onstage at half past nine — clean shaven, clear-eyed and dapper in a black and red chalk stripe suit. The music, beginning with An American Girl and You Don't Know How it Feels, came off the same way: neat as a pin, stylish and put-together. It marked an interesting contrast to Petty's last Starwood appearance, which was reportedly rambling and strung out. As the night evolved, one wished for perhaps a little more of that unhinged feeling, but for those hoping to hear hearty hits well played, there was nothing lacking.
The highlights, as a result, were generally tantamount to the highlights of Petty's recording career — the jangly sway of Free Falling, the patient pulse of Learning to Fly and the organ-saturated artillery of Refugee. The only song from his most recent cultural manifesto of an album The Last DJ was the title track, which blasts homogenization of the airwaves. He offered up a new song of tortured obsession called Melinda, which evolved from dense folk ballad to complex piano solo, showing off the skills of the wonderful Benmont Tench. A sprinkling of blues (Little Red Rooster and a touch of Elmore James) rounded out a consistent hour-and-forty-minute set.
On the way out, some might have been ticking off the hits he didn't play — Breakdown, Listen to her Heart, Don't Do Me Like That and more — and thinking how it could have gone on for a while longer without strain. It was a pretty night that seemed ended prematurely by a noise curfew.
Fans welcome Petty like he's family
BY DEVIN GRANT Special to The Post and Courier
When Chuck Gravley walked into the North Charleston Coliseum on Friday evening to see a concert by Tom Petty and the Heartbreakers, he was attending the show as more than just a fan -- Gravley was family.
In addition to being an avid listener of Petty's music, Gravley, an airport security screener who lives in Ladson, is actually related to one of the band members, keyboardist Benmont Tench.
"He's my uncle's wife's sister's son," explained Gravley, who was attending the show with his son, Ken, and his grandson, Tyler. In loose terms, that makes Tench a cousin of Gravley, who hasn't actually spoken with the musician since the late '60s, when the Gravley family traveled to Gainesville, Fla., to visit their Tench brethren.
Even back then though, Gravley remembers that Tench was a natural, saying "He was an impressive talent, even in his teens."
Gravley's first clue that Tench had achieved fame and fortune came almost a decade later, when the Ladson man was in the Navy. According to Gravley, his brother called him one day to report that their piano-playing cousin was in a band Gravley might have heard of.
"He said, 'We have a famous family member,' " recalls Gravley. Family ties notwithstanding, Gravley makes it a point to try and see the band whenever it performs close to the Lowcountry. Its last visit to Charleston was a show at the North Charleston Coliseum in September 1995.
Up in the Radio Room, a pre-concert cocktail lounge set up by ClearChannel Communications, which sponsored Friday night's concert, local classic rock radio station Q104.5 was holding a Tom Petty look-alike contest. Radio personality Michael Blaze used the crowd to pick the eventual winner: 14-year-old Becky Johnson, a freshman student at Wando High School in Mount Pleasant.
Johnson, who claims to have been listening to Petty's music "since before I could remember," had clearly put a lot of thought into her costume, which was straight out of Petty's psychedelic music video for the song "Don't Come Around Here No More." Clad in a colorful floppy hat, a black waistcoat and checkerboard pattered sneakers, Johnson was clearly the crowd favorite. The second-row tickets that Johnson won as first prize went to her mother, who was celebrating a birthday.
Friday night's show at the Coliseum began with a performance by gospel and R&B legend Mavis Staples. Some might have considered Staples, whose vocal style calls to mind the late Mahalia Jackson, an odd choice for an opening act for a classic rock band. The singer, who recorded on the Stax record label in the '60s, didn't take long to make an impression on the crowd with her spirited renditions of R&B and gospel songs. By the time Staples left the stage almost an hour later, the singer had clearly won over the audience.
Tom Petty and the Heartbreakers took to the stage shortly after Staples' departure, opening with one of the band's classic tunes, "American Girl." The popular classic rock band, which was inducted into the Rock and Roll Hall of Fame last year, immediately had the crowd on their feet.
With the exception of the title track from the band's latest album, "The Last DJ," and a couple of cover songs, the evening became a celebration of the long list of hits the band has scored over the last 30 years. Crowd favorites included "Mary Jane's Last Dance," "You Don't Know How It Feels" and "Free Fallin."
Besides Petty, the band lineup included lead guitarist Mike Campbell, keyboardist Tench, multi-instrumentalist Scott Thurston, drummer Steve Ferone, and bassist Ron Blair. Blair, who was the original bassist for the Heartbreakers before leaving the band in the '80s, recently returned to the fold after the departure of longtime bassist Howie Epstein, who died earlier this year.
A surprise came when Petty performed "Handle With Care," a song from the 1988 debut album by the Traveling Wilburys. That group consisted of Petty, Jeff Lynne and Bob Dylan, as well as the late musicians Roy Orbison and George Harrison.
Petty also unveiled a new song, "Melinda," which he played on acoustic guitar. That song, which called to mind the sound of Johnny Cash, received a warm response from the audience.
When Chuck Gravley walked into the North Charleston Coliseum on Friday evening to see a concert by Tom Petty and the Heartbreakers, he was attending the show as more than just a fan -- Gravley was family.
In addition to being an avid listener of Petty's music, Gravley, an airport security screener who lives in Ladson, is actually related to one of the band members, keyboardist Benmont Tench.
"He's my uncle's wife's sister's son," explained Gravley, who was attending the show with his son, Ken, and his grandson, Tyler. In loose terms, that makes Tench a cousin of Gravley, who hasn't actually spoken with the musician since the late '60s, when the Gravley family traveled to Gainesville, Fla., to visit their Tench brethren.
Even back then though, Gravley remembers that Tench was a natural, saying "He was an impressive talent, even in his teens."
Gravley's first clue that Tench had achieved fame and fortune came almost a decade later, when the Ladson man was in the Navy. According to Gravley, his brother called him one day to report that their piano-playing cousin was in a band Gravley might have heard of.
"He said, 'We have a famous family member,' " recalls Gravley. Family ties notwithstanding, Gravley makes it a point to try and see the band whenever it performs close to the Lowcountry. Its last visit to Charleston was a show at the North Charleston Coliseum in September 1995.
Up in the Radio Room, a pre-concert cocktail lounge set up by ClearChannel Communications, which sponsored Friday night's concert, local classic rock radio station Q104.5 was holding a Tom Petty look-alike contest. Radio personality Michael Blaze used the crowd to pick the eventual winner: 14-year-old Becky Johnson, a freshman student at Wando High School in Mount Pleasant.
Johnson, who claims to have been listening to Petty's music "since before I could remember," had clearly put a lot of thought into her costume, which was straight out of Petty's psychedelic music video for the song "Don't Come Around Here No More." Clad in a colorful floppy hat, a black waistcoat and checkerboard pattered sneakers, Johnson was clearly the crowd favorite. The second-row tickets that Johnson won as first prize went to her mother, who was celebrating a birthday.
Friday night's show at the Coliseum began with a performance by gospel and R&B legend Mavis Staples. Some might have considered Staples, whose vocal style calls to mind the late Mahalia Jackson, an odd choice for an opening act for a classic rock band. The singer, who recorded on the Stax record label in the '60s, didn't take long to make an impression on the crowd with her spirited renditions of R&B and gospel songs. By the time Staples left the stage almost an hour later, the singer had clearly won over the audience.
Tom Petty and the Heartbreakers took to the stage shortly after Staples' departure, opening with one of the band's classic tunes, "American Girl." The popular classic rock band, which was inducted into the Rock and Roll Hall of Fame last year, immediately had the crowd on their feet.
With the exception of the title track from the band's latest album, "The Last DJ," and a couple of cover songs, the evening became a celebration of the long list of hits the band has scored over the last 30 years. Crowd favorites included "Mary Jane's Last Dance," "You Don't Know How It Feels" and "Free Fallin."
Besides Petty, the band lineup included lead guitarist Mike Campbell, keyboardist Tench, multi-instrumentalist Scott Thurston, drummer Steve Ferone, and bassist Ron Blair. Blair, who was the original bassist for the Heartbreakers before leaving the band in the '80s, recently returned to the fold after the departure of longtime bassist Howie Epstein, who died earlier this year.
A surprise came when Petty performed "Handle With Care," a song from the 1988 debut album by the Traveling Wilburys. That group consisted of Petty, Jeff Lynne and Bob Dylan, as well as the late musicians Roy Orbison and George Harrison.
Petty also unveiled a new song, "Melinda," which he played on acoustic guitar. That song, which called to mind the sound of Johnny Cash, received a warm response from the audience.
Tuesday, July 15, 2003
Tom Petty delivers ‘rollicking’ rock show - Veteran rocker captivates crowd of nearly 6,000 fans
By PHIL LUCIANO
Journal Star critic
PEORIA - Who delivered that rollicking show at the Peoria Civic Center arena Sunday night?
What with all the blues rock, it must’ve been George Thorogood and The Heartbreakers, right?
But what about the silly dancing, bravura storytelling and countless sing-alongs. Was it Bruce Springsteen and The Heartbreakers?
Then again, the lead guitarist nearly stole the show. So, could it have been Mike Campbell and The Heartbreakers?
It was, exhilaratingly, all those shows rolled into one. And there’s no one better at rolling than Tom Petty, the loopy, flaxen-haired scarecrow who laconically commands one fantastic arena-rock band.
Petty and Co. enthralled a crowd of just under 6,000 - young, old and otherwise - for each of their 110 minutes. That’s no easy chore, especially for someone as laid back as Petty.
After a quarter-century of recording, Petty boasts a mighty set list. But he and the Heartbreakers offer more than solid tunes and precision musicianship - they breathe life and excitement into every song, an achievement the audience can feel, appreciate and celebrate.
Moreover, Petty enjoys his job. With eyelids apparently as heavy as concrete, allowing just tiny slits for sight, he chewed gum and smiled warmly all night. Genuinely impressed by the adulation, he sometimes looked like the cat who ate the canary. Yet he never came off as condescending; after many songs he would go through elaborate, tongue-in-cheek gestures of gratitude, like a jester bowing before a king.
The stage consisted of a tapered, soaring overhang, sort of like the gaping roof of a serpent’s mouth. The backdrop flashed and mixed psychedelic and solid hues, while the lights occasionally sent swirling bursts of color into the crowd. Wow, man.
Petty sauntered onto the stage clad in an aquamarine corduroy jacket, tan trousers, weathered brown boots, a black T-shirt and earth-tone scarf nattily tucked into a brown vest. He and his backing sextet launched into the band’s first hit, "American Girl," and the crowd exploded.
The set list included the title track from last year’s CD, "The Last DJ," which produced perhaps the night’s tightest, layered musical interplay. But most of the show was spent on familiar rock-radio hits - "Free Falling," "You Got Lucky," "You Wreck Me" - and included the fan favorite "You Don’t’ Know How it Feels," which prompted a mass, self-satisfied sing-along to the line, "Let’s roll another joint."
"This is our first trip to Peoria in 20 years!" he chirped to the crowd. Actually, he’s a dozen years off: the band sold out 9,000 seats at the arena in ‘95.
No matter. The spectators on the main floor stayed on their feet the entire performance, applauding not only every tune but also Petty’s playful antics, ranging from his trippy footwork and Phish-fan-like twirling to his sing-and-response calls and anecdotes.
Other highlights of the night included Petty nonchalantly intoning, "A long time ago, there was a band called the Traveling Wilburys" before slipping into "Handle With Care." Later, the band debuted a new song, the Spanish-flecked ballad "Melinda," featuring an intricately energetic yet eerie piano solo by Benmont Tench.
Meanwhile, dropping dynamite throughout the show was guitarist Campbell, who accented "Woman in Love" and "Refugee" by absolutely shredding his guitar. On "The Waiting," Petty got in on the solo act, segueing into a funky riff (was there a wah-wah pedal somewhere on that stage?) that could’ve felt home on the "Shaft" soundtrack.
Near the end of the performance, the band pounded through two meaty covers, The Animal’s "I’m Crying" and Muddy Waters’ "Baby, Please Don’t Go." The rocking blues, pounded out with crash-bang aplomb by the Heartbreakers, had the crowd hooting, hollering and head-bobbing.
The only complaint: The backing vocals often sounded ragged. Worse, on "Mary Jane’s Last Dance" and "Running Down A Dream," harmony vocals from newcomer Scott Thurston, who handles harmonica, guitar and keyboards, drowned out Petty during the refrains. Maybe that’s the sound man’s fault; regardless, Petty’s voice is still full and strong enough to handle all leads.
Opening the evening was Mavis Staples, of the Staples Singers. She delivered a 50-minute set of slow-burn funk and gospel that captivated the audience, much of which was on its feet at the end of her show.
Journal Star critic
PEORIA - Who delivered that rollicking show at the Peoria Civic Center arena Sunday night?
What with all the blues rock, it must’ve been George Thorogood and The Heartbreakers, right?
But what about the silly dancing, bravura storytelling and countless sing-alongs. Was it Bruce Springsteen and The Heartbreakers?
Then again, the lead guitarist nearly stole the show. So, could it have been Mike Campbell and The Heartbreakers?
It was, exhilaratingly, all those shows rolled into one. And there’s no one better at rolling than Tom Petty, the loopy, flaxen-haired scarecrow who laconically commands one fantastic arena-rock band.
Petty and Co. enthralled a crowd of just under 6,000 - young, old and otherwise - for each of their 110 minutes. That’s no easy chore, especially for someone as laid back as Petty.
After a quarter-century of recording, Petty boasts a mighty set list. But he and the Heartbreakers offer more than solid tunes and precision musicianship - they breathe life and excitement into every song, an achievement the audience can feel, appreciate and celebrate.
Moreover, Petty enjoys his job. With eyelids apparently as heavy as concrete, allowing just tiny slits for sight, he chewed gum and smiled warmly all night. Genuinely impressed by the adulation, he sometimes looked like the cat who ate the canary. Yet he never came off as condescending; after many songs he would go through elaborate, tongue-in-cheek gestures of gratitude, like a jester bowing before a king.
The stage consisted of a tapered, soaring overhang, sort of like the gaping roof of a serpent’s mouth. The backdrop flashed and mixed psychedelic and solid hues, while the lights occasionally sent swirling bursts of color into the crowd. Wow, man.
Petty sauntered onto the stage clad in an aquamarine corduroy jacket, tan trousers, weathered brown boots, a black T-shirt and earth-tone scarf nattily tucked into a brown vest. He and his backing sextet launched into the band’s first hit, "American Girl," and the crowd exploded.
The set list included the title track from last year’s CD, "The Last DJ," which produced perhaps the night’s tightest, layered musical interplay. But most of the show was spent on familiar rock-radio hits - "Free Falling," "You Got Lucky," "You Wreck Me" - and included the fan favorite "You Don’t’ Know How it Feels," which prompted a mass, self-satisfied sing-along to the line, "Let’s roll another joint."
"This is our first trip to Peoria in 20 years!" he chirped to the crowd. Actually, he’s a dozen years off: the band sold out 9,000 seats at the arena in ‘95.
No matter. The spectators on the main floor stayed on their feet the entire performance, applauding not only every tune but also Petty’s playful antics, ranging from his trippy footwork and Phish-fan-like twirling to his sing-and-response calls and anecdotes.
Other highlights of the night included Petty nonchalantly intoning, "A long time ago, there was a band called the Traveling Wilburys" before slipping into "Handle With Care." Later, the band debuted a new song, the Spanish-flecked ballad "Melinda," featuring an intricately energetic yet eerie piano solo by Benmont Tench.
Meanwhile, dropping dynamite throughout the show was guitarist Campbell, who accented "Woman in Love" and "Refugee" by absolutely shredding his guitar. On "The Waiting," Petty got in on the solo act, segueing into a funky riff (was there a wah-wah pedal somewhere on that stage?) that could’ve felt home on the "Shaft" soundtrack.
Near the end of the performance, the band pounded through two meaty covers, The Animal’s "I’m Crying" and Muddy Waters’ "Baby, Please Don’t Go." The rocking blues, pounded out with crash-bang aplomb by the Heartbreakers, had the crowd hooting, hollering and head-bobbing.
The only complaint: The backing vocals often sounded ragged. Worse, on "Mary Jane’s Last Dance" and "Running Down A Dream," harmony vocals from newcomer Scott Thurston, who handles harmonica, guitar and keyboards, drowned out Petty during the refrains. Maybe that’s the sound man’s fault; regardless, Petty’s voice is still full and strong enough to handle all leads.
Opening the evening was Mavis Staples, of the Staples Singers. She delivered a 50-minute set of slow-burn funk and gospel that captivated the audience, much of which was on its feet at the end of her show.
Saturday, July 12, 2003
Tom Petty and band kept the hits coming Friday - Petty perfection
By Joe Tougas Free Press Staff Writer
MANKATO — Tom Petty and the Heartbreakers' concert Friday night was a return to something that we all know is there, but can get too busy to remember.
It was about songs that stick with you beyond a moment of controversy or infamy; songs that haven't been stuck onto a Ford or Chevy; songs on a hot summer night from an American band that has always been there, but never been here.
And for two hours, the Petty and the Heatbreakers carved themselves a place that made for a great night and, easily, one of the best rock shows the Civic Center has seen in its seven years running.
If you came for an artist who was eager to share his new material, you were in the wrong place. Although Petty's most recent album, "The Last DJ," is among his best and most socially poignant, he performed only the title track.
For the rest of the night, it was a greatest hits show, but with the nostalgia. Petty's work has lasted not so much because of cool chops, but because he writes lyrics that can last - "Refugee," for instance, will work in 2003 as well as it did in 1980. But in 1980, we didn't hear him and band expand on the tune and turn it into an infectious stomp that would have raised the eyes of Crazy Horse. Friday night, though, we did.
What Petty and the venerable Heatbreakers provided at their adrenaline-inducing show was a greatest hits package that hit the two hour mark and still left more to be desired - but no one was complaining and fewer still were sitting throughout the show.
The honeymoon started before the vows - lights went down, Petty bowed as the five Heartbreakers took to their respective rock basics (plus a Hammond B-3).
From opening chords of the first number, "American Girl," the night was theirs. On its feet for three levels, the audience took Petty at his rock-star promise, and he made good.
From "American Girl," the hits kept-a-coming, and it's hard to imagine a more receptive audience.
"This is our first trip to Mankato," Petty said, pausing for a minute's worth of roars. "Since it's our first trip here, we thought it'd be fun to go way back in the catalogue." And his vintage Epiphone strummed the opening chords to "Free Falling," featuring the Civic Center audience on constant guess vocals.
The mood in the seats seemed to affect Petty as well. Grinning constantly, he distanced himself from the demure, poker-faced persona of his videos and prowled the edges of the stage throughout the show - nodding and grinning at the front rows.
Think of a hit, he played it (Save for the heartbreaking omission of "Breakdown" and "Don't Come Around Here No More.") But he threw in roadhouse renditions of Them's "Baby Please Don't Go" and "Hear Me Cryin'." He unveiled a new tune, "Melinda," which ventured from a Johnny Cash rhythm into a Grateful Dead piano jam and back again.
The energy of the night just bounced back and forth between audience and performer - these were old songs, indeed, but Petty would actually put his body into "The Waiting" as though it mattered. For real songwriters, of course, it does matter. And when he sang its line, "but never as good as I feel right now," the "now" was something everybody in the room shared, gratefully.
MANKATO — Tom Petty and the Heartbreakers' concert Friday night was a return to something that we all know is there, but can get too busy to remember.
It was about songs that stick with you beyond a moment of controversy or infamy; songs that haven't been stuck onto a Ford or Chevy; songs on a hot summer night from an American band that has always been there, but never been here.
And for two hours, the Petty and the Heatbreakers carved themselves a place that made for a great night and, easily, one of the best rock shows the Civic Center has seen in its seven years running.
If you came for an artist who was eager to share his new material, you were in the wrong place. Although Petty's most recent album, "The Last DJ," is among his best and most socially poignant, he performed only the title track.
For the rest of the night, it was a greatest hits show, but with the nostalgia. Petty's work has lasted not so much because of cool chops, but because he writes lyrics that can last - "Refugee," for instance, will work in 2003 as well as it did in 1980. But in 1980, we didn't hear him and band expand on the tune and turn it into an infectious stomp that would have raised the eyes of Crazy Horse. Friday night, though, we did.
What Petty and the venerable Heatbreakers provided at their adrenaline-inducing show was a greatest hits package that hit the two hour mark and still left more to be desired - but no one was complaining and fewer still were sitting throughout the show.
The honeymoon started before the vows - lights went down, Petty bowed as the five Heartbreakers took to their respective rock basics (plus a Hammond B-3).
From opening chords of the first number, "American Girl," the night was theirs. On its feet for three levels, the audience took Petty at his rock-star promise, and he made good.
From "American Girl," the hits kept-a-coming, and it's hard to imagine a more receptive audience.
"This is our first trip to Mankato," Petty said, pausing for a minute's worth of roars. "Since it's our first trip here, we thought it'd be fun to go way back in the catalogue." And his vintage Epiphone strummed the opening chords to "Free Falling," featuring the Civic Center audience on constant guess vocals.
The mood in the seats seemed to affect Petty as well. Grinning constantly, he distanced himself from the demure, poker-faced persona of his videos and prowled the edges of the stage throughout the show - nodding and grinning at the front rows.
Think of a hit, he played it (Save for the heartbreaking omission of "Breakdown" and "Don't Come Around Here No More.") But he threw in roadhouse renditions of Them's "Baby Please Don't Go" and "Hear Me Cryin'." He unveiled a new tune, "Melinda," which ventured from a Johnny Cash rhythm into a Grateful Dead piano jam and back again.
The energy of the night just bounced back and forth between audience and performer - these were old songs, indeed, but Petty would actually put his body into "The Waiting" as though it mattered. For real songwriters, of course, it does matter. And when he sang its line, "but never as good as I feel right now," the "now" was something everybody in the room shared, gratefully.
Friday, July 11, 2003
Petty fans rip it up at the DECC
BY V. PAUL VIRTUCIONEWS TRIBUNE STAFF WRITER
The main floor of Tom Petty's Wednesday night concert at the Duluth Entertainment Convention Center Arena was more tightly packed than a Black Labels gig at John's Red Lion Lounge in downtown Duluth.
As soon as Petty and the Heartbreakers played the first chords to "American Girl," fans in the back rows flooded the aisles and jammed the front main floor. That's not normal behavior for Northlanders who know they're only supposed to sit where their ticket stub tells them.
That meant something different to the 5,569 people in the audience, depending on their demographics.
Those college-aged, local-band-patronizing Petty fans looked like they were having a freaky good time, standing shoulder-to-shoulder and front-to-back, spilling beer on each other, smoking (some tokin'), with girls sitting atop guys' shoulders and guys stripping their shirts as they proudly sang along.
Those in the been-there-done-that crowd who wanted to enjoy Petty's live music felt a little miffed at having paid a $54 ticket price only to be distracted and discomforted by the aisle dwellers.
Apparently, it's what the band was expecting to happen. Petty had requested that DECC security officials hang back and not prevent his fans from crowding forward or dancing in the aisles, said Craig Samborski, the DECC's entertainment director. So even though the concert was overstaffed with security personnel, they found themselves unable to turn back the tide of surging fans.
That only contributed to an absolutely wild night of Petty ambling, scooting and showboating about the stage as he played crowd favorites. Dressed in a pin-striped suit and metallic tie (which he later doffed as temperatures rose), Petty set the standard for veteran rockers who should be entertaining their fans instead of resting on their laurels as they blandly play their radio hits.
Petty's opening set of "American Girl" and "You Don't Know How It Feels" brought the crowd to a near orgasmic fervor, which he built upon with fulfilling versions of "Free Fallin'," "I Won't Back Down," "Mary Jane's Last Dance" and "Learning to Fly."
With an acoustic guitar, Petty played the Johnny Cash-like tune called "Melinda," a yet-unrecorded song. Though audience members didn't know the lyrics, their energies didn't abate.
The Heartbreakers provided dozens of evening highlights with each musician's extended solos. "Refugee" showcased Petty and lead guitarist Mike Campbell. Benmont Tench on piano blew the crowd away in "You Got Lucky."
Petty's favorite facial expression Wednesday was a look of awe: He was overwhelmed by the intense greeting he received at the DECC and he showed his appreciation by constantly bowing and embracing the air as if to embrace the entire crowd.
Throughout Petty's concert, the arena was filled with raised lighters, shirts and arms waved in ecstasy, fans singing proudly and couples making out fervently. It was a live concert that wasn't just about the music but about the experience.
The main floor of Tom Petty's Wednesday night concert at the Duluth Entertainment Convention Center Arena was more tightly packed than a Black Labels gig at John's Red Lion Lounge in downtown Duluth.
As soon as Petty and the Heartbreakers played the first chords to "American Girl," fans in the back rows flooded the aisles and jammed the front main floor. That's not normal behavior for Northlanders who know they're only supposed to sit where their ticket stub tells them.
That meant something different to the 5,569 people in the audience, depending on their demographics.
Those college-aged, local-band-patronizing Petty fans looked like they were having a freaky good time, standing shoulder-to-shoulder and front-to-back, spilling beer on each other, smoking (some tokin'), with girls sitting atop guys' shoulders and guys stripping their shirts as they proudly sang along.
Those in the been-there-done-that crowd who wanted to enjoy Petty's live music felt a little miffed at having paid a $54 ticket price only to be distracted and discomforted by the aisle dwellers.
Apparently, it's what the band was expecting to happen. Petty had requested that DECC security officials hang back and not prevent his fans from crowding forward or dancing in the aisles, said Craig Samborski, the DECC's entertainment director. So even though the concert was overstaffed with security personnel, they found themselves unable to turn back the tide of surging fans.
That only contributed to an absolutely wild night of Petty ambling, scooting and showboating about the stage as he played crowd favorites. Dressed in a pin-striped suit and metallic tie (which he later doffed as temperatures rose), Petty set the standard for veteran rockers who should be entertaining their fans instead of resting on their laurels as they blandly play their radio hits.
Petty's opening set of "American Girl" and "You Don't Know How It Feels" brought the crowd to a near orgasmic fervor, which he built upon with fulfilling versions of "Free Fallin'," "I Won't Back Down," "Mary Jane's Last Dance" and "Learning to Fly."
With an acoustic guitar, Petty played the Johnny Cash-like tune called "Melinda," a yet-unrecorded song. Though audience members didn't know the lyrics, their energies didn't abate.
The Heartbreakers provided dozens of evening highlights with each musician's extended solos. "Refugee" showcased Petty and lead guitarist Mike Campbell. Benmont Tench on piano blew the crowd away in "You Got Lucky."
Petty's favorite facial expression Wednesday was a look of awe: He was overwhelmed by the intense greeting he received at the DECC and he showed his appreciation by constantly bowing and embracing the air as if to embrace the entire crowd.
Throughout Petty's concert, the arena was filled with raised lighters, shirts and arms waved in ecstasy, fans singing proudly and couples making out fervently. It was a live concert that wasn't just about the music but about the experience.
Tuesday, July 8, 2003
Getting help with 'petty' problem
By VIRGINIA GRANTIER, Bismarck Tribune
Christmas time, sigh, a beautiful time at the Huber home. Take the tree decorating tradition: While the Tom Petty rock music plays, ornaments are placed on the branches, and then it's time. For the last one. For the official Tom Petty Christmas ornament, a silver tennis ball-sized globe with his image in black and white. It's always, always, the last one -- placed in the middle of the tree.
And in this family of four, there is only person, of course, year after year, who puts Petty in his place. Of course.
"Oh gosh, yes," said Shannon Huber, 39, who not only is the ornament placer and owner, but has a Tom Petty mug that's never used, don't try. Not even her beloved husband, Jon, is even slightly tempted to grab it from its kitchen counter position for use when all other mugs are dirty.
And she owns two guitar picks that she got from a Petty roadie as part of his apology for accidentally hitting her in the head with a crumpled drink cup after a concert. And there is plenty of other stuff -- concert ticket stubs, all his albums, a beach towel and so on.
Huber, a reputed jokester and funster, as well as a serious, devoted addiction counselor, according to her co-workers at Bismarck's Youthworks, admits to quite the Petty habit -- for the fun of it and because she loves his music. And also because of his life story, "I was fascinated (to learn) how hard he had to struggle."
And his lyrics inspired her not to give up when she, a former hard-partier and hard drinker, decided later in life to go to college, and it wasn't easy -- being that she was a widow then, a single working mom, nail technician with limited funds and two years into her sobriety.
She kept not quitting, pushing on, with his lyrics in the background, while she studied, and in the car, the house: "I won't back down. Won't back down. Stand my ground. Got just one life," she recited. Because she didn't back down, she graduated from the University of Mary in 1997.
Now, she's able to bring to youth who have alcohol and drugs problems her real-life understanding of what they're going through.
So when Tom Petty and the Heartbreakers come to Bismarck on Tuesday for a Civic Center concert, she'll be there. And she hopes to be able to share how inspirational he was.
The question is, where in there will she be? Currently, she and 13 others, family and friends, have seats in the eighth row even though she hurriedly bought tickets the first day they were available. That's seven rows too far away. Petty is coming to her town and to her, eighth row is the nose-bleed section. Can't have that. So for about five weeks she's been on a mission to try to convince someone she knows to give up either one or both of their second row seats. In return, they can have Row 8 seats and an extra $100 to boot. So far, no go.
Jon Huber, her husband of four years, says that wherever she goes now, the gas station, grocery store, she stops people and asks if they have Petty tickets. He likes Petty, too, but at a different level of like.
Jon Huber recalled how deeply Petty impacts her -- take last year's labor-pain situation.
Last November, Shannon Huber went into labor way too early and doctors tried everything to get it to stop. But after six hours of consistent labor, about three minutes apart, nothing did the trick. Until, that is, at 11:30 p.m., when television host Jay Leno introduced Petty, and Petty started singing his song "The Last DJ," and then talked with Leno. Through it all -- seven or eight minutes, Jon Huber remembers, maybe up to 10 minutes, his wife remembers -- she had not one contraction.
"She was totally relaxed," Jon Huber remembers.
Then, it was over, commercial time, and the contractions started again.
"I told her maybe we should watch his video," he said, and laughed.
After some time in the intensive care unit, their daughter, 7 1/2 months old, is perfect and has already experienced a Petty concert road trip. Mother-in-law Carol Huber, very supportive of Shannon Huber's Petty devotion, agreed to travel with them to Sioux Falls, S.D., and baby-sit during the concert.
Shannon Huber would like hers and Petty's lives to cross, so, by the way, she's looking for backstage passes.
She has already crossed his driveway. While visiting relatives in Encino, Calif., a couple years ago, it was a main goal to also visit the Petty house, located not far away from grandpa's, said Justin Mikkelson, 18.
Shannon Huber stood in the driveway, for about five minutes, thinking deep thoughts:
"Just knowing that he had driven there," she said, and laughed.
She baked a chocolate cake on his Oct. 20 birthday once, brought it into work, again, just for the crazy, wacky fun of it all.
"There's so many good things about her," said co-worker Betty Althoff about Huber's serious side. "She's so understanding, so caring."
And so predictable.
Althoff said Huber got to work at 9 a.m. Thursday. Althoff remembers it was about 9:10 a.m. when the words "Tom Petty" came out of Huber's mouth. They always do, every day, sometimes once, sometimes more. More so now that the first row is still eluding her.
Civic Center Manager Dick Peterson said its his understanding there are still a few front-row tickets here and there -- and Petty himself has a hold on about three or four tickets.
Huber's had dreams, all the same dream. She's just about to meet Petty and something happens, and it doesn't happen. Never happens.
Tom, this is pretty petty -- stop draggin' her, stop draggin' her, stop draggin' her heart around.
Christmas time, sigh, a beautiful time at the Huber home. Take the tree decorating tradition: While the Tom Petty rock music plays, ornaments are placed on the branches, and then it's time. For the last one. For the official Tom Petty Christmas ornament, a silver tennis ball-sized globe with his image in black and white. It's always, always, the last one -- placed in the middle of the tree.
And in this family of four, there is only person, of course, year after year, who puts Petty in his place. Of course.
"Oh gosh, yes," said Shannon Huber, 39, who not only is the ornament placer and owner, but has a Tom Petty mug that's never used, don't try. Not even her beloved husband, Jon, is even slightly tempted to grab it from its kitchen counter position for use when all other mugs are dirty.
And she owns two guitar picks that she got from a Petty roadie as part of his apology for accidentally hitting her in the head with a crumpled drink cup after a concert. And there is plenty of other stuff -- concert ticket stubs, all his albums, a beach towel and so on.
Huber, a reputed jokester and funster, as well as a serious, devoted addiction counselor, according to her co-workers at Bismarck's Youthworks, admits to quite the Petty habit -- for the fun of it and because she loves his music. And also because of his life story, "I was fascinated (to learn) how hard he had to struggle."
And his lyrics inspired her not to give up when she, a former hard-partier and hard drinker, decided later in life to go to college, and it wasn't easy -- being that she was a widow then, a single working mom, nail technician with limited funds and two years into her sobriety.
She kept not quitting, pushing on, with his lyrics in the background, while she studied, and in the car, the house: "I won't back down. Won't back down. Stand my ground. Got just one life," she recited. Because she didn't back down, she graduated from the University of Mary in 1997.
Now, she's able to bring to youth who have alcohol and drugs problems her real-life understanding of what they're going through.
So when Tom Petty and the Heartbreakers come to Bismarck on Tuesday for a Civic Center concert, she'll be there. And she hopes to be able to share how inspirational he was.
The question is, where in there will she be? Currently, she and 13 others, family and friends, have seats in the eighth row even though she hurriedly bought tickets the first day they were available. That's seven rows too far away. Petty is coming to her town and to her, eighth row is the nose-bleed section. Can't have that. So for about five weeks she's been on a mission to try to convince someone she knows to give up either one or both of their second row seats. In return, they can have Row 8 seats and an extra $100 to boot. So far, no go.
Jon Huber, her husband of four years, says that wherever she goes now, the gas station, grocery store, she stops people and asks if they have Petty tickets. He likes Petty, too, but at a different level of like.
Jon Huber recalled how deeply Petty impacts her -- take last year's labor-pain situation.
Last November, Shannon Huber went into labor way too early and doctors tried everything to get it to stop. But after six hours of consistent labor, about three minutes apart, nothing did the trick. Until, that is, at 11:30 p.m., when television host Jay Leno introduced Petty, and Petty started singing his song "The Last DJ," and then talked with Leno. Through it all -- seven or eight minutes, Jon Huber remembers, maybe up to 10 minutes, his wife remembers -- she had not one contraction.
"She was totally relaxed," Jon Huber remembers.
Then, it was over, commercial time, and the contractions started again.
"I told her maybe we should watch his video," he said, and laughed.
After some time in the intensive care unit, their daughter, 7 1/2 months old, is perfect and has already experienced a Petty concert road trip. Mother-in-law Carol Huber, very supportive of Shannon Huber's Petty devotion, agreed to travel with them to Sioux Falls, S.D., and baby-sit during the concert.
Shannon Huber would like hers and Petty's lives to cross, so, by the way, she's looking for backstage passes.
She has already crossed his driveway. While visiting relatives in Encino, Calif., a couple years ago, it was a main goal to also visit the Petty house, located not far away from grandpa's, said Justin Mikkelson, 18.
Shannon Huber stood in the driveway, for about five minutes, thinking deep thoughts:
"Just knowing that he had driven there," she said, and laughed.
She baked a chocolate cake on his Oct. 20 birthday once, brought it into work, again, just for the crazy, wacky fun of it all.
"There's so many good things about her," said co-worker Betty Althoff about Huber's serious side. "She's so understanding, so caring."
And so predictable.
Althoff said Huber got to work at 9 a.m. Thursday. Althoff remembers it was about 9:10 a.m. when the words "Tom Petty" came out of Huber's mouth. They always do, every day, sometimes once, sometimes more. More so now that the first row is still eluding her.
Civic Center Manager Dick Peterson said its his understanding there are still a few front-row tickets here and there -- and Petty himself has a hold on about three or four tickets.
Huber's had dreams, all the same dream. She's just about to meet Petty and something happens, and it doesn't happen. Never happens.
Tom, this is pretty petty -- stop draggin' her, stop draggin' her, stop draggin' her heart around.
Friday, July 4, 2003
Petty shines on forgotten gems
By Eric Lochridge, Journal Copy Editor
RAPID CITY -- If Steely Dan is the band the kills a party, then Tom Petty and the Heartbreakers is the one that doesn't let it die.
It took them more than 25 years, but a gracious Petty and the Heartbreakers finally found their way to Rapid City, and the audience Thursday night at an almost-full Rushmore Plaza Civic Center arena clearly was ready for the Rock and Roll Hall of Famers' arrival.
Of course, we knew they couldn't go wrong with an arsenal of classics including "American Girl," "Refugee" and "The Waiting" (and even a Traveling Wilburys tune) included in the set list.
But aside from those must-play crowd pleasers, Petty and the boys ripped through a carefully crafted set that gleaned liberally from 1989's "Full Moon Fever" and otherwise grabbed jewels from throughout the band's unbelievable career.
Petty and the Heartbreakers took the stage in jackets and ties, probably the best-dressed rock band to hit the civic center since Bob Dylan showed up in formal Western attire. But before the show's halfway mark, the jackets were shed and the ties loosened.
Kicking off the show with their signature song, "American Girl," Petty dug in and offered the expected, the forgotten and a few surprises.
The central segment of any Petty show must be "Free Fallin'" as the well-trained audience chimes in and Petty backs off the vocals to take in the sound of thousands of voices in unison.
Petty's "new classics" stood up, too, especially "Mary Jane's Last Dance" and an acoustic "Learning to Fly."
As for forgotten songs, lead guitarist Mike Campbell shredded on "A Woman in Love," from 1981's "Hard Promises," and Petty deftly resurrected the Wilburys' "Handle With Care."
Among the surprises were a new, unrecorded song, "Melinda," which, if it is any indication of where Petty is headed, reveals that fans have much to look forward to. And as if we hadn't gotten enough already, the encore opened with the oft-covered "Baby Please Don't Go."
Add to that excellent selections like "I Won't Back Down," "Running Down a Dream" and "The Last DJ" (the only selection from their most recent CD), and the audience, at least those of us who didn't fall into drunken slumbers or stupors halfway through, got lucky.
Along with a pledge to return here every year, Petty remarked that it was the band's first show in South Dakota. So even though they kicked the tour off in Sioux Falls last week, we cut Tom some slack. After all, many of us west of the river feel the same way about our burgeoning sister metropolis to the east.
RAPID CITY -- If Steely Dan is the band the kills a party, then Tom Petty and the Heartbreakers is the one that doesn't let it die.
It took them more than 25 years, but a gracious Petty and the Heartbreakers finally found their way to Rapid City, and the audience Thursday night at an almost-full Rushmore Plaza Civic Center arena clearly was ready for the Rock and Roll Hall of Famers' arrival.
Of course, we knew they couldn't go wrong with an arsenal of classics including "American Girl," "Refugee" and "The Waiting" (and even a Traveling Wilburys tune) included in the set list.
But aside from those must-play crowd pleasers, Petty and the boys ripped through a carefully crafted set that gleaned liberally from 1989's "Full Moon Fever" and otherwise grabbed jewels from throughout the band's unbelievable career.
Petty and the Heartbreakers took the stage in jackets and ties, probably the best-dressed rock band to hit the civic center since Bob Dylan showed up in formal Western attire. But before the show's halfway mark, the jackets were shed and the ties loosened.
Kicking off the show with their signature song, "American Girl," Petty dug in and offered the expected, the forgotten and a few surprises.
The central segment of any Petty show must be "Free Fallin'" as the well-trained audience chimes in and Petty backs off the vocals to take in the sound of thousands of voices in unison.
Petty's "new classics" stood up, too, especially "Mary Jane's Last Dance" and an acoustic "Learning to Fly."
As for forgotten songs, lead guitarist Mike Campbell shredded on "A Woman in Love," from 1981's "Hard Promises," and Petty deftly resurrected the Wilburys' "Handle With Care."
Among the surprises were a new, unrecorded song, "Melinda," which, if it is any indication of where Petty is headed, reveals that fans have much to look forward to. And as if we hadn't gotten enough already, the encore opened with the oft-covered "Baby Please Don't Go."
Add to that excellent selections like "I Won't Back Down," "Running Down a Dream" and "The Last DJ" (the only selection from their most recent CD), and the audience, at least those of us who didn't fall into drunken slumbers or stupors halfway through, got lucky.
Along with a pledge to return here every year, Petty remarked that it was the band's first show in South Dakota. So even though they kicked the tour off in Sioux Falls last week, we cut Tom some slack. After all, many of us west of the river feel the same way about our burgeoning sister metropolis to the east.
Thursday, July 3, 2003
City wants Petty to come around here again
Cindy Taylor , Staff Writer
For more than 25 years, I've been listening to Tom Petty and the Heartbreakers and Tuesday's concert at the Mid-America Center proves you're never too old to "rock and roll."
Opener Mavis Staples started the night off with her bluesy vocals for an hour ... then came the main draw. From the moment he hit the stage with "American Girl" Petty had everyone on their feet and rockin' for more than two hours.
At 52, Petty still sounds (and looks) like he did back in the 80s when us baby boomers were listening to him. He kept the crowd alive and everyone sang along to "Free Fallin'," "I Won't Back Down" and dozens more. I was amazed that even the teenagers in the audience knew all the words. Petty appeared relaxed and out to have a good time. Although at times, it was difficult to hear him (because of the excessive screaming of the crowd.) The closing song "You Wreck Me" had us all wanting more!
Petty's well-chosen mix energizes crowd in C.R. Concert review
CEDAR RAPIDS -- If any rockers-in-training attended Tom Petty's concert at the U.S. Cellular Center on Monday night, Petty gave them a show they ought to pore over the way linguists study the Rosetta Stone.
Tom Petty turned in a high-energy performance with goodwill to spare Monday night at the U.S. Cellular Center in Cedar Rapids.
In a whirlwind set of classics, brand-new songs and well-chosen covers, Petty offered a textbook arena rock show, dazzling the crowd with a high-energy performance, simple yet effective visuals and goodwill to spare.
He started with a blazing take of "American Girl," one of his first hits. It made the cavernous arena feel like a living room, the crowd of 5,000 joining as one to sing along. It felt more like a rousing closer than an opening, and Petty maintained that energy level for much of the rest of the show.
You'd never know Petty was 52 by the way he moved. In black leather pants and a red velvet jacket, he stalked across the stage like a young lion, shaking his hips from time to time to elicit a roar from the crowd.
The Heartbreakers, who include lifers Mike Campbell on guitar and Benmont Tench on keyboards, were tight and effective. Original bassist Ron Blair, who took over for the late Howie Epstein, seemed at home in his old spot, while drummer Steve Ferrone and multi-instrumentalist Scott Thurston were solid.
"The Last DJ," the only song from Petty's otherwise tepid recent album of the same name, didn't have the same punch as the old tunes. The need for reform in the radio industry doesn't get the party started the way an empowerment anthem like "I Won't Back Down" can.
Things picked up immediately with a rousing "Handle With Care," a George Harrison song from Petty's Traveling Wilburys days.
Petty continued to mix things up. "Melinda," a new folksy tune that seemed more a worthy excuse to let Tench and Campbell jam than a song, and "Learning to Fly," with Petty alone on acoustic guitar, were highlights.
He closed the main set with the Animals' chestnut "I'm Crying" and his own "Refugee" and "Running Down a Dream." The quick encore including Chuck Berry's "Carol," and Petty's own "You Wreck Me" closed the show.
The only complaint was with the show's length. For $55, you'd think Petty could play for more than two hours, and he didn't quite reach that.
Opener Mavis Staples may have seemed an odd choice, but her infectious energy and powerful vocals won over a crowd that initially seemed disinterested. With a mix of gospel and blues that included "The Weight" and "Respect Yourself," she powered through a short set that revved up the audience in a way that fully explained why Petty had her on the bill.
For more than 25 years, I've been listening to Tom Petty and the Heartbreakers and Tuesday's concert at the Mid-America Center proves you're never too old to "rock and roll."
Opener Mavis Staples started the night off with her bluesy vocals for an hour ... then came the main draw. From the moment he hit the stage with "American Girl" Petty had everyone on their feet and rockin' for more than two hours.
At 52, Petty still sounds (and looks) like he did back in the 80s when us baby boomers were listening to him. He kept the crowd alive and everyone sang along to "Free Fallin'," "I Won't Back Down" and dozens more. I was amazed that even the teenagers in the audience knew all the words. Petty appeared relaxed and out to have a good time. Although at times, it was difficult to hear him (because of the excessive screaming of the crowd.) The closing song "You Wreck Me" had us all wanting more!
Petty's well-chosen mix energizes crowd in C.R. Concert review
CEDAR RAPIDS -- If any rockers-in-training attended Tom Petty's concert at the U.S. Cellular Center on Monday night, Petty gave them a show they ought to pore over the way linguists study the Rosetta Stone.
Tom Petty turned in a high-energy performance with goodwill to spare Monday night at the U.S. Cellular Center in Cedar Rapids.
In a whirlwind set of classics, brand-new songs and well-chosen covers, Petty offered a textbook arena rock show, dazzling the crowd with a high-energy performance, simple yet effective visuals and goodwill to spare.
He started with a blazing take of "American Girl," one of his first hits. It made the cavernous arena feel like a living room, the crowd of 5,000 joining as one to sing along. It felt more like a rousing closer than an opening, and Petty maintained that energy level for much of the rest of the show.
You'd never know Petty was 52 by the way he moved. In black leather pants and a red velvet jacket, he stalked across the stage like a young lion, shaking his hips from time to time to elicit a roar from the crowd.
The Heartbreakers, who include lifers Mike Campbell on guitar and Benmont Tench on keyboards, were tight and effective. Original bassist Ron Blair, who took over for the late Howie Epstein, seemed at home in his old spot, while drummer Steve Ferrone and multi-instrumentalist Scott Thurston were solid.
"The Last DJ," the only song from Petty's otherwise tepid recent album of the same name, didn't have the same punch as the old tunes. The need for reform in the radio industry doesn't get the party started the way an empowerment anthem like "I Won't Back Down" can.
Things picked up immediately with a rousing "Handle With Care," a George Harrison song from Petty's Traveling Wilburys days.
Petty continued to mix things up. "Melinda," a new folksy tune that seemed more a worthy excuse to let Tench and Campbell jam than a song, and "Learning to Fly," with Petty alone on acoustic guitar, were highlights.
He closed the main set with the Animals' chestnut "I'm Crying" and his own "Refugee" and "Running Down a Dream." The quick encore including Chuck Berry's "Carol," and Petty's own "You Wreck Me" closed the show.
The only complaint was with the show's length. For $55, you'd think Petty could play for more than two hours, and he didn't quite reach that.
Opener Mavis Staples may have seemed an odd choice, but her infectious energy and powerful vocals won over a crowd that initially seemed disinterested. With a mix of gospel and blues that included "The Weight" and "Respect Yourself," she powered through a short set that revved up the audience in a way that fully explained why Petty had her on the bill.
Sunday, June 29, 2003
Heartbreakers satisfy crowd with array of hits
Petty knows how it feels to keep rockin'Heartbreakers satisfy crowd with array of hits
By DAVE TIANEN
Remember the last scene in "Jerry Maguire"?
Tom Cruise shows up unexpectedly at the home of his estranged wife and makes this impassioned speech on why she should take him back. He finishes his big speech, she looks at him and says, "You had me at hello."
Well, it was like that Saturday night with Tom Petty and a near-sellout crowd at Summerfest's Marcus Amphitheater. He had them at hello.
Of course, hello in this case was really a bright and kicking rendition of "American Girl," but the reaction was essentially the same. This crowd wanted hits, Petty gave them hits, and the result was an uninterrupted love fest.
They erupted in applause and recognition for songs after just three or four notes. They sang along without the slightest prompting to "Free Fallin', " "Woman in Love (It's Not Me)," "You Don't Know How It Feels," "Mary Jane's Last Dance," "I Won't Back Down," "The Waiting" and a half-dozen others.
Petty himself seemed relaxed and just out to have a good time. He occasionally did a little twist for the rockers and playfully directed the drummer with a punch in the air. He played one new tune, a folksy ballad that sounded as though it was called "Melinda." It's hard to say. The girls in front kept screaming even during introductions, and that was an hour into the show.
There weren't too many surprises. Petty dropped in a tune from the Traveling Wilburys, and he didn't get around to his most recent effort, "The Last DJ," until 45 minutes into the gig. For all its manifest crankiness, even that went over well. (Deadlines prevented a review of Petty's entire set.)
At bottom, Petty has a bulging catalog of hits, and those hits are tailor-made for summer and singalong amphitheater shows. There's no better friend a rock star can have than a cupboard full of platinum.
After all these years together, you have a sense that the Heartbreakers could pull off a show gagged, bound and blindfolded. What they couldn't do is pull it off if they were bored - and to their credit, there's no sign that that's become a problem.
Opening for Petty was the Grand Old Man of rock 'n' roll, Bo Diddley. He sauntered on stage as the drums, guitar and congas tore into the familiar shuffle beat, and the crowd responded with a rare salute for an opening act: an introductory standing ovation. In his mid-70s, Bo looks like a prosperous semiretired gunfighter.
He played this show sitting down, but that barely slowed the energy as he romped through some of the opening pages of the rock 'n' roll songbook: "Bo Diddley," "I'm a Man," "You Can't Judge a Book by Its Cover," "Roadrunner" and "Mona." He went out to "Who Do You Love?" and a second standing ovation.
By DAVE TIANEN
Remember the last scene in "Jerry Maguire"?
Tom Cruise shows up unexpectedly at the home of his estranged wife and makes this impassioned speech on why she should take him back. He finishes his big speech, she looks at him and says, "You had me at hello."
Well, it was like that Saturday night with Tom Petty and a near-sellout crowd at Summerfest's Marcus Amphitheater. He had them at hello.
Of course, hello in this case was really a bright and kicking rendition of "American Girl," but the reaction was essentially the same. This crowd wanted hits, Petty gave them hits, and the result was an uninterrupted love fest.
They erupted in applause and recognition for songs after just three or four notes. They sang along without the slightest prompting to "Free Fallin', " "Woman in Love (It's Not Me)," "You Don't Know How It Feels," "Mary Jane's Last Dance," "I Won't Back Down," "The Waiting" and a half-dozen others.
Petty himself seemed relaxed and just out to have a good time. He occasionally did a little twist for the rockers and playfully directed the drummer with a punch in the air. He played one new tune, a folksy ballad that sounded as though it was called "Melinda." It's hard to say. The girls in front kept screaming even during introductions, and that was an hour into the show.
There weren't too many surprises. Petty dropped in a tune from the Traveling Wilburys, and he didn't get around to his most recent effort, "The Last DJ," until 45 minutes into the gig. For all its manifest crankiness, even that went over well. (Deadlines prevented a review of Petty's entire set.)
At bottom, Petty has a bulging catalog of hits, and those hits are tailor-made for summer and singalong amphitheater shows. There's no better friend a rock star can have than a cupboard full of platinum.
After all these years together, you have a sense that the Heartbreakers could pull off a show gagged, bound and blindfolded. What they couldn't do is pull it off if they were bored - and to their credit, there's no sign that that's become a problem.
Opening for Petty was the Grand Old Man of rock 'n' roll, Bo Diddley. He sauntered on stage as the drums, guitar and congas tore into the familiar shuffle beat, and the crowd responded with a rare salute for an opening act: an introductory standing ovation. In his mid-70s, Bo looks like a prosperous semiretired gunfighter.
He played this show sitting down, but that barely slowed the energy as he romped through some of the opening pages of the rock 'n' roll songbook: "Bo Diddley," "I'm a Man," "You Can't Judge a Book by Its Cover," "Roadrunner" and "Mona." He went out to "Who Do You Love?" and a second standing ovation.
Saturday, June 28, 2003
Crowd gets Petty worked up at Arena
Tom Petty may have been the most gracious rock legend on Earth Thursday night.
In front of 6,100 very appreciative fans, and with obvious zeal on his face, Petty constantly thanked his audience between songs as if the guy hadn't heard cheering in 12 years.
"Your getting me all excited," Petty said from stage. "When I get all excited I go wild. I can't be responsible for myself when I get all worked up. Just, so you still respect me tomorrow."
Arena officials were excited too. Petty's performance was the Arena's highest grossing concert ever. Final numbers weren't available, but Arena officials confirmed that it broke the previous single-show record held by Aerosmith for a 1998 show that grossed more than $250,000.
Even though the show wasn't a sell-out - Arena capacity is 6,800 - an average ticket price of $44.50 made it the top grossing show.
Aside from making Arena history, the show was special because it was the first date of Petty's current tour.
Even more special may have been a rare symbiosis between musicians and spectators where the two actually seemed on par with each other.
After spirited renditions of Petty and the Heartbreaker hits like "Mary Jane's Last Dance" and "Free Fallin'" (to which the crowd freely sang along) the audience bathed the blond rocker with honest applause.
Amped up by the appreciation, Petty smiled, danced and shimmied his way through classic rock tunes while actually looking like he was having fun - not a trait exhibited by all musicians when they hit Sioux Falls.
Because of Petty's excitement, the symbiosis was less parasitic than most concerts and felt more spiritual, resulting in a very enjoyable and entertaining concert.
The entertainment factor started early when opener Mavis Staples ended her set by talking to the crowd during a rendition of "I'll Take You There" and paying heed to "Sioux City, S.D." Not surprisingly, boos followed.
Unphased by the major faux pas, the crowd clapped when Staples left the stage and began waiting for the main draw.
At 8:45 Petty and his longtime backing band the Heartbreakers took the stage and strolled into "American Girl."
For a first tour date, the band sounded surprisingly good with no major hiccups or minor malfunctions.
Wearing a turquoise blazer, Petty danced through "You Don't Know How it Feels" for the night's second number and gave the crowd its first clue that he was feeling good.
Portions of the crowd also took Petty's advice from the song. When he sang "Let's roll another joint," wafts of marijuana smoke christened the show with the smell of a "real" rock concert.
"The joint is jumping tonight, just jumping," Petty said from stage.
Maybe the fans just appreciated a good sound. Petty's voice was what you'd expect: it sounded just like the albums, but with enough added spunk to raise the energy level. Ditto for the Heartbreakers. This was especially evident during "The Waiting," which sounded excellent thanks to an evident tempo boost.
Petty also served up the title track from last year's album "The Last DJ" and an unrecorded new song with a title that wasn't easily understood by this writer.
It could have been "The Limit" or "Melinna" or something phonetically similar. Regardless of the name, the acoustic guitar driven tune was good, with a driving country beat and keyboard quality reminiscent of the Doors.
An hour into the performance, Petty still had the crowd standing and singing along.
Walking away, two things were evident: Petty had a ton of fun. And he's definitely a living piece of Americana.
Each of his songs reads like a journal entry that could easily have been written by Joe Average in Anytown, U.S.A. He captures the experiences we all live through. But manages to romanticize them in a way that makes life feel a little better, at least until the song is over.
Or in the case of last night, until the concert was over.
In front of 6,100 very appreciative fans, and with obvious zeal on his face, Petty constantly thanked his audience between songs as if the guy hadn't heard cheering in 12 years.
"Your getting me all excited," Petty said from stage. "When I get all excited I go wild. I can't be responsible for myself when I get all worked up. Just, so you still respect me tomorrow."
Arena officials were excited too. Petty's performance was the Arena's highest grossing concert ever. Final numbers weren't available, but Arena officials confirmed that it broke the previous single-show record held by Aerosmith for a 1998 show that grossed more than $250,000.
Even though the show wasn't a sell-out - Arena capacity is 6,800 - an average ticket price of $44.50 made it the top grossing show.
Aside from making Arena history, the show was special because it was the first date of Petty's current tour.
Even more special may have been a rare symbiosis between musicians and spectators where the two actually seemed on par with each other.
After spirited renditions of Petty and the Heartbreaker hits like "Mary Jane's Last Dance" and "Free Fallin'" (to which the crowd freely sang along) the audience bathed the blond rocker with honest applause.
Amped up by the appreciation, Petty smiled, danced and shimmied his way through classic rock tunes while actually looking like he was having fun - not a trait exhibited by all musicians when they hit Sioux Falls.
Because of Petty's excitement, the symbiosis was less parasitic than most concerts and felt more spiritual, resulting in a very enjoyable and entertaining concert.
The entertainment factor started early when opener Mavis Staples ended her set by talking to the crowd during a rendition of "I'll Take You There" and paying heed to "Sioux City, S.D." Not surprisingly, boos followed.
Unphased by the major faux pas, the crowd clapped when Staples left the stage and began waiting for the main draw.
At 8:45 Petty and his longtime backing band the Heartbreakers took the stage and strolled into "American Girl."
For a first tour date, the band sounded surprisingly good with no major hiccups or minor malfunctions.
Wearing a turquoise blazer, Petty danced through "You Don't Know How it Feels" for the night's second number and gave the crowd its first clue that he was feeling good.
Portions of the crowd also took Petty's advice from the song. When he sang "Let's roll another joint," wafts of marijuana smoke christened the show with the smell of a "real" rock concert.
"The joint is jumping tonight, just jumping," Petty said from stage.
Maybe the fans just appreciated a good sound. Petty's voice was what you'd expect: it sounded just like the albums, but with enough added spunk to raise the energy level. Ditto for the Heartbreakers. This was especially evident during "The Waiting," which sounded excellent thanks to an evident tempo boost.
Petty also served up the title track from last year's album "The Last DJ" and an unrecorded new song with a title that wasn't easily understood by this writer.
It could have been "The Limit" or "Melinna" or something phonetically similar. Regardless of the name, the acoustic guitar driven tune was good, with a driving country beat and keyboard quality reminiscent of the Doors.
An hour into the performance, Petty still had the crowd standing and singing along.
Walking away, two things were evident: Petty had a ton of fun. And he's definitely a living piece of Americana.
Each of his songs reads like a journal entry that could easily have been written by Joe Average in Anytown, U.S.A. He captures the experiences we all live through. But manages to romanticize them in a way that makes life feel a little better, at least until the song is over.
Or in the case of last night, until the concert was over.
Friday, June 20, 2003
Fake Backstage Passes Circulate
SIOUX FALLS (AP) - A real heartbreaker.
That is the case for people who think they've got backstage passes to a concert next week by Tom Petty and the Heartbreakers.
Scott Gales, an official at Sioux Falls Arena, said a number of phony backstage passes are being circulated. Some people have gotten the passes free and some have paid for them.
That is the case for people who think they've got backstage passes to a concert next week by Tom Petty and the Heartbreakers.
Scott Gales, an official at Sioux Falls Arena, said a number of phony backstage passes are being circulated. Some people have gotten the passes free and some have paid for them.
Friday, June 13, 2003
Tom Petty and Neil Young to Headline Labor Day Fest
Last year’s Labor Day Festival was a peak experience for Jazz Aspen Snowmass, the 12-year-old local music presenter.
The festival was capped by the first-ever Aspen appearance by Bob Dylan, whom Jazz Aspen had been pursuing for years, and also featured crowd-pleasing sets from Willie Nelson, Phil Lesh & Friends, and the Nitty Gritty Dirt Band. The one-time-only setting at the base of Buttermilk Mountain worked like a charm, and the four-day festival brought in record crowds.
This year’s bash is poised to make Labor Day 2002 a faint memory. Jazz Aspen announced yesterday that Neil Young and Tom Petty, two more acts that have long been in festival officials’ sights, are set to headline the festival. Petty and his long-running band, the Heartbreakers, will play Aug. 30, and Young will perform with his own longstanding backing outfit, Crazy Horse, on Aug. 31. The festival, returning to expanded grounds at the bottom of Snowmass Village, is set for Aug. 29 through Sept. 1. Other highlights of the festival include sets by Ivory Coast reggae singer Alpha Blondy, who closed the 2001 Labor Day Festival; San Diego groove band the Greyboy Allstars, who broke up in 1997 and are playing just three U.S. shows on their reunion tour; country singer Clint Black, making an exclusive Colorado appearance; and bluesman Bo Diddley, perhaps the only musician with a musical riff named after him.
Other main-stage acts include bluegrass mandolinist Sam Bush, Colorado’s Leftover Salmon and Texas swing band Asleep at the Wheel. The JAS After Dark series of club gigs will feature jazz guitarist Russell Malone, roots rock/r&b group Jon Cleary & the Absolute Monster Gentlemen, and funk bands Papa Grows Funk and Topaz.
Of the stars of the classic rock era of the 1960s and ’70s, few have been as enduring, prolific and feisty as Young and Petty.
Young, a Canadian native who emerged in the mid-’60s Los Angeles scene with Buffalo Springfield, has been perhaps the most consistent presence at the top of the rock ’n’ roll universe. His albums have ranged from acoustic-flavored, country-rock masterpieces to garage-scented rock efforts with Crazy Horse, from early experiments with computerized music to his classic rock recordings as a member of Crosby, Stills, Nash & Young. His most recent album, last year’s “Are You Passionate,” featured collaborations with soul band Booker T & the MGs. Last year’s biography “Shaky” offered an extensive look at the idiosyncratic Young.
The Florida-born Petty arrived with the 1979 album “Damn the Torpedoes” and the hit songs “Don’t Do Me Like That” and “Refugee.” He has remained a consistent rock hitmaker, with such albums as “Full Moon Fever” and “Into the Great Wide Open.” His 2002 album “The Last DJ” was a sharp jab at the greed and loss of creativity in the current rock world.
The festival was capped by the first-ever Aspen appearance by Bob Dylan, whom Jazz Aspen had been pursuing for years, and also featured crowd-pleasing sets from Willie Nelson, Phil Lesh & Friends, and the Nitty Gritty Dirt Band. The one-time-only setting at the base of Buttermilk Mountain worked like a charm, and the four-day festival brought in record crowds.
This year’s bash is poised to make Labor Day 2002 a faint memory. Jazz Aspen announced yesterday that Neil Young and Tom Petty, two more acts that have long been in festival officials’ sights, are set to headline the festival. Petty and his long-running band, the Heartbreakers, will play Aug. 30, and Young will perform with his own longstanding backing outfit, Crazy Horse, on Aug. 31. The festival, returning to expanded grounds at the bottom of Snowmass Village, is set for Aug. 29 through Sept. 1. Other highlights of the festival include sets by Ivory Coast reggae singer Alpha Blondy, who closed the 2001 Labor Day Festival; San Diego groove band the Greyboy Allstars, who broke up in 1997 and are playing just three U.S. shows on their reunion tour; country singer Clint Black, making an exclusive Colorado appearance; and bluesman Bo Diddley, perhaps the only musician with a musical riff named after him.
Other main-stage acts include bluegrass mandolinist Sam Bush, Colorado’s Leftover Salmon and Texas swing band Asleep at the Wheel. The JAS After Dark series of club gigs will feature jazz guitarist Russell Malone, roots rock/r&b group Jon Cleary & the Absolute Monster Gentlemen, and funk bands Papa Grows Funk and Topaz.
Of the stars of the classic rock era of the 1960s and ’70s, few have been as enduring, prolific and feisty as Young and Petty.
Young, a Canadian native who emerged in the mid-’60s Los Angeles scene with Buffalo Springfield, has been perhaps the most consistent presence at the top of the rock ’n’ roll universe. His albums have ranged from acoustic-flavored, country-rock masterpieces to garage-scented rock efforts with Crazy Horse, from early experiments with computerized music to his classic rock recordings as a member of Crosby, Stills, Nash & Young. His most recent album, last year’s “Are You Passionate,” featured collaborations with soul band Booker T & the MGs. Last year’s biography “Shaky” offered an extensive look at the idiosyncratic Young.
The Florida-born Petty arrived with the 1979 album “Damn the Torpedoes” and the hit songs “Don’t Do Me Like That” and “Refugee.” He has remained a consistent rock hitmaker, with such albums as “Full Moon Fever” and “Into the Great Wide Open.” His 2002 album “The Last DJ” was a sharp jab at the greed and loss of creativity in the current rock world.
Thursday, June 12, 2003
Wednesday, May 21, 2003
Tom Petty to check into Arena
By DON FERNANDEZ
The Atlanta Journal-Constitution
Summer is shaping up to be a rich time for Gwinnett music fans as the Arena at Gwinnett Center continues to lure A-list acts to its facility.
Rockers Tom Petty and the Heartbreakers have booked a date at the Arena for Aug. 13. Tickets for the event go on sale May 31.
Still in its salad days, the Arena has already attracted Bruce Springsteen, George Strait, Avril Lavigne and Coldplay.
ZZ Top and Ted Nugent are set for June 21 and the triple bill of Journey, Styx and REO Speedwagon will play on July 26.
Mariah Carey had been in negotiations to take her concert tour to the Arena, but has instead opted to head to Philips Arena in downtown Atlanta.
Tom Petty, though, won't back down.
"It is confirmed," said Gwinnett Center marketing manager Marcia Powell. "We knew it was coming, but we thought it was happening next week."
Ticket prices for the show will be $35, $45 and $58 for floor seats.
"We have something in June, something in July and something in August," Powell said. "There are a couple of things on the horizon, but nothing we can confirm."
The Atlanta Journal-Constitution
Summer is shaping up to be a rich time for Gwinnett music fans as the Arena at Gwinnett Center continues to lure A-list acts to its facility.
Rockers Tom Petty and the Heartbreakers have booked a date at the Arena for Aug. 13. Tickets for the event go on sale May 31.
Still in its salad days, the Arena has already attracted Bruce Springsteen, George Strait, Avril Lavigne and Coldplay.
ZZ Top and Ted Nugent are set for June 21 and the triple bill of Journey, Styx and REO Speedwagon will play on July 26.
Mariah Carey had been in negotiations to take her concert tour to the Arena, but has instead opted to head to Philips Arena in downtown Atlanta.
Tom Petty, though, won't back down.
"It is confirmed," said Gwinnett Center marketing manager Marcia Powell. "We knew it was coming, but we thought it was happening next week."
Ticket prices for the show will be $35, $45 and $58 for floor seats.
"We have something in June, something in July and something in August," Powell said. "There are a couple of things on the horizon, but nothing we can confirm."
Thursday, May 15, 2003
Tom Petty And The Heartbreakers To Tour U.S. This Summer
TOM PETTY and the HEARTBREAKERS will tour the U.S. this summer, beginning June 26 in Sioux Falls, SD. They will also headline opening night of Bonnaroo NE 2003 festival Friday, August 8 at Enterprise Park at Calverton in Riverhead, New York. For summer tour presale ticket information, visit www.tompetty.com.
TOM PETTY and the HEARTBREAKERS--MIKE CAMPBELL (guitars), BENMONT TENCH (keyboards), RON BLAIR (bass), SCOTT THURSTON (guitars, harmonica, backing vocals) and STEVE FERRONE (drums)—were recently in Chicago to tape a "Soundstage" PBS special, set to air July 3. This will be followed July 10 with a second "Soundstage" special, comprised entirely of footage from a one-time event the band taped last October at the Grand Olympic Auditorium in downtown Los Angeles when they performed THE LAST DJ album from beginning to end (backed on some songs by a 40-piece orchestra).
While in Chicago, the band played a sold-out five-night residency at Chicago's intimate Vic Theatre, varying their sets with hits, rarely performed gems and wide-ranging covers. The band, who once played 20-consecutive shows at The Fillmore in San Francisco, performed over 30 songs each night, including numbers by Muddy Waters, Howlin' Wolf, Buddy Holly, Chuck Berry, J.J. Cale, The Animals and the Traveling Wilburys. Local station WXRT broadcast 10 minutes live from every show (April 13, 14, 16, 17), with the final concert (Saturday, April 19) broadcast live in its entirety on the station. Fans in attendance were not only seeing shows that ran close to three hours; as they exited, they're were given a free commemorative poster of the event.
Here are some live reviews from the Sunday, April 13 show at The Vic:
"…Petty's most adventurous set of music on a Chicago stage in more than a decade…It's about Petty and the Heartbreakers taking their time, digging deep and mining their pasts as musical appreciators for inspiration. It's a rare opportunity to see Petty not just as a star, which he is, but as a musician and a fan…this week, his roots are showing, and it's a fascinating glimpse into the mind, soul and inspiration of one of the rock 'n' roll greats." -- Greg Kot, CHICAGO TRIBUNE, April 15, 2003
"This was a rare opportunity to see one of the best arena acts in rock up close and personal, stretching out, jamming and taking chances that it could never take in the enormodomes. And the group delivered a truly unique experience…Petty's secret weapons were the amazingly versatile keyboardist Benmont Tench and longstanding lead guitarist Mike Campbell, who was as impressive firing off leads on his Les Paul during the louder numbers as he was while finger-picking an electric mandolin during the 12-song acoustic set…an inspired, energetic, revealing and consistently thrilling performance--a gift from one of rock's greats." --Jim DeRogatis, CHICAGO SUN TIMES, April 15, 2003
"…the band stocked its 30-song setlist with covers that left no influence undone. They included a punk-driven version of The Animals' 'I'm Crying,' the Rolling Stones' early garage rock blues 'Down Home Girl,' Buddy Holly's signature 'Peggy Sue,' Chuck Berry rockabilly gem 'Carol' and Ray Charles' 'I Got A Woman,' with Petty adding Elvis Presley's leg twitch and hubba-hubba inflection…Petty is at an age when most his peers have creatively peaked and are downshifting to take advantage of fan loyalty with through-the-roof ticket prices for nostalgia tours void of adventure but rich in formula…he is continuing a rich career whose legacy is still in the present, not past, tense." --Mark Guarino, DAILY HERALD, April 15, 2003
TOM PETTY and the HEARTBREAKERS tour dates (more to come):
Thu 6/26 Sioux Falls, SD Sioux Falls Arena
Sat 6/28 Milwaukee, WI Summerfest--Marcus Amphitheatre
Mon 6/30 Cedar Rapids, IA US Cellular Center
Tue 7/1 Council Bluffs, IA Mid America Center
Thu 7/3 Rapid City, SD Rushmore Plaza
Sat 7/5 Bozeman, MT Brick Breeden Fieldhouse
Tue 7/8 Bismarck, ND Bismarck Civic Center
Wed 7/9 Duluth, MN Decc Arena
Fri 7/11 Mankato, MN Mid West Arena
Sun 7/13 Peoria, IL Civic Center
Fri 8/8 Riverhead, NY Enterprise Park at Calverton
TOM PETTY and the HEARTBREAKERS--MIKE CAMPBELL (guitars), BENMONT TENCH (keyboards), RON BLAIR (bass), SCOTT THURSTON (guitars, harmonica, backing vocals) and STEVE FERRONE (drums)—were recently in Chicago to tape a "Soundstage" PBS special, set to air July 3. This will be followed July 10 with a second "Soundstage" special, comprised entirely of footage from a one-time event the band taped last October at the Grand Olympic Auditorium in downtown Los Angeles when they performed THE LAST DJ album from beginning to end (backed on some songs by a 40-piece orchestra).
While in Chicago, the band played a sold-out five-night residency at Chicago's intimate Vic Theatre, varying their sets with hits, rarely performed gems and wide-ranging covers. The band, who once played 20-consecutive shows at The Fillmore in San Francisco, performed over 30 songs each night, including numbers by Muddy Waters, Howlin' Wolf, Buddy Holly, Chuck Berry, J.J. Cale, The Animals and the Traveling Wilburys. Local station WXRT broadcast 10 minutes live from every show (April 13, 14, 16, 17), with the final concert (Saturday, April 19) broadcast live in its entirety on the station. Fans in attendance were not only seeing shows that ran close to three hours; as they exited, they're were given a free commemorative poster of the event.
Here are some live reviews from the Sunday, April 13 show at The Vic:
"…Petty's most adventurous set of music on a Chicago stage in more than a decade…It's about Petty and the Heartbreakers taking their time, digging deep and mining their pasts as musical appreciators for inspiration. It's a rare opportunity to see Petty not just as a star, which he is, but as a musician and a fan…this week, his roots are showing, and it's a fascinating glimpse into the mind, soul and inspiration of one of the rock 'n' roll greats." -- Greg Kot, CHICAGO TRIBUNE, April 15, 2003
"This was a rare opportunity to see one of the best arena acts in rock up close and personal, stretching out, jamming and taking chances that it could never take in the enormodomes. And the group delivered a truly unique experience…Petty's secret weapons were the amazingly versatile keyboardist Benmont Tench and longstanding lead guitarist Mike Campbell, who was as impressive firing off leads on his Les Paul during the louder numbers as he was while finger-picking an electric mandolin during the 12-song acoustic set…an inspired, energetic, revealing and consistently thrilling performance--a gift from one of rock's greats." --Jim DeRogatis, CHICAGO SUN TIMES, April 15, 2003
"…the band stocked its 30-song setlist with covers that left no influence undone. They included a punk-driven version of The Animals' 'I'm Crying,' the Rolling Stones' early garage rock blues 'Down Home Girl,' Buddy Holly's signature 'Peggy Sue,' Chuck Berry rockabilly gem 'Carol' and Ray Charles' 'I Got A Woman,' with Petty adding Elvis Presley's leg twitch and hubba-hubba inflection…Petty is at an age when most his peers have creatively peaked and are downshifting to take advantage of fan loyalty with through-the-roof ticket prices for nostalgia tours void of adventure but rich in formula…he is continuing a rich career whose legacy is still in the present, not past, tense." --Mark Guarino, DAILY HERALD, April 15, 2003
TOM PETTY and the HEARTBREAKERS tour dates (more to come):
Thu 6/26 Sioux Falls, SD Sioux Falls Arena
Sat 6/28 Milwaukee, WI Summerfest--Marcus Amphitheatre
Mon 6/30 Cedar Rapids, IA US Cellular Center
Tue 7/1 Council Bluffs, IA Mid America Center
Thu 7/3 Rapid City, SD Rushmore Plaza
Sat 7/5 Bozeman, MT Brick Breeden Fieldhouse
Tue 7/8 Bismarck, ND Bismarck Civic Center
Wed 7/9 Duluth, MN Decc Arena
Fri 7/11 Mankato, MN Mid West Arena
Sun 7/13 Peoria, IL Civic Center
Fri 8/8 Riverhead, NY Enterprise Park at Calverton
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