Band delivers a stone-cold classic
Indianapolis Star, IN
October 14, 2006
Aerosmith: Verizon Wireless Music Center
Bottom line: Faced with a cold snap, rock 'n' roll royalty snaps back
For an audience of 16,000 that braved “feels like” temperatures in the 30s Friday night at Verizon Wireless Music Center, their reward was a near-flawless performance from Aerosmith.
The long-running rock band opened with a clenched-fist duo of early-era classics: “Toys in the Attic” and “Mama Kin.”
Vocalist Steven Tyler walked onstage wearing a sensible ski cap and a trench coat, but he eventually discarded enough threads to reveal black spandex sleeves that covered his forearms but not his biceps.
Accented by sparkling bracelets, this suave visual surprise allowed Tyler to strike a balance between Audrey Hepburn and Marilyn Manson.
In addition to looking the part of a sophisticated rocker, Tyler flaunted a voice that’s faring great following a recent surgical tune-up. Sounding youthful and elastic, he conquered every song on a list that spanned 33 years of recording.
After “Toys in the Attic” and “Mama Kin,” Aerosmith paired other tunes to give a methodical overview of its Hall of Fame career.
“Eat the Rich” and “Cryin’” represented the band’s prolonged comeback that began in the mid-1980s. “Baby Please Don’t Go” and “Stop Messin’ Around” paid tribute to the band’s bluesy roots. “Seasons of Wither” and “Dream On” showed off the band’s mind-bending, mystical side.
With this series of history lessons complete, Aerosmith moved on to new single “Devil’s Got a New Disguise.” Built on a compact groove and risqué rhymes, the catchy song may be the band’s best since 2001’s “Jaded” – and it’s twice as aggressive.
Guitarist Joe Perry didn’t play the riffs of “Devil’s” or “Eat the Rich” as if his band were adrift in soundtrack ballads or Super Bowl appearances alongside Britney Spears and ’N Sync.
More than once, Aerosmith has proved that anything is possible. The next trick may be a return to hard rock majesty achieved through raunch and justified arrogance.
The members of Motley Crue were polite enough to warm the crowd with loads of onstage pyrotechnics during their evening-opening performance.
If the California quartet has a reputation for being a ragged and careless live act, Friday didn’t do a lot to change the score.
However, fleeting moments revealed the band’s talents in the areas of melody and composition.
The slowdown groove of “Wild Side,” Tommy Lee’s precise drumming during “Looks That Kill,” and Mick Mars’ descending guitar riffs on “Same Old Situation” all impressed.
Lee embraced the weather conditions by going shirtless. The ever-brittle Mars – two years removed from hip-replacement surgery – struggled with hitting his marks as the performance wore on.
Although his quotes of Jimi Hendrix’s “Voodoo Chile” lacked velocity, Mars salvaged the end of Motley Crue’s time in the spotlight with a run of spooky harmonics fit for a pre-Halloween night.
October 14, 2006
Aerosmith: Verizon Wireless Music Center
Bottom line: Faced with a cold snap, rock 'n' roll royalty snaps back
For an audience of 16,000 that braved “feels like” temperatures in the 30s Friday night at Verizon Wireless Music Center, their reward was a near-flawless performance from Aerosmith.
The long-running rock band opened with a clenched-fist duo of early-era classics: “Toys in the Attic” and “Mama Kin.”
Vocalist Steven Tyler walked onstage wearing a sensible ski cap and a trench coat, but he eventually discarded enough threads to reveal black spandex sleeves that covered his forearms but not his biceps.
Accented by sparkling bracelets, this suave visual surprise allowed Tyler to strike a balance between Audrey Hepburn and Marilyn Manson.
In addition to looking the part of a sophisticated rocker, Tyler flaunted a voice that’s faring great following a recent surgical tune-up. Sounding youthful and elastic, he conquered every song on a list that spanned 33 years of recording.
After “Toys in the Attic” and “Mama Kin,” Aerosmith paired other tunes to give a methodical overview of its Hall of Fame career.
“Eat the Rich” and “Cryin’” represented the band’s prolonged comeback that began in the mid-1980s. “Baby Please Don’t Go” and “Stop Messin’ Around” paid tribute to the band’s bluesy roots. “Seasons of Wither” and “Dream On” showed off the band’s mind-bending, mystical side.
With this series of history lessons complete, Aerosmith moved on to new single “Devil’s Got a New Disguise.” Built on a compact groove and risqué rhymes, the catchy song may be the band’s best since 2001’s “Jaded” – and it’s twice as aggressive.
Guitarist Joe Perry didn’t play the riffs of “Devil’s” or “Eat the Rich” as if his band were adrift in soundtrack ballads or Super Bowl appearances alongside Britney Spears and ’N Sync.
More than once, Aerosmith has proved that anything is possible. The next trick may be a return to hard rock majesty achieved through raunch and justified arrogance.
The members of Motley Crue were polite enough to warm the crowd with loads of onstage pyrotechnics during their evening-opening performance.
If the California quartet has a reputation for being a ragged and careless live act, Friday didn’t do a lot to change the score.
However, fleeting moments revealed the band’s talents in the areas of melody and composition.
The slowdown groove of “Wild Side,” Tommy Lee’s precise drumming during “Looks That Kill,” and Mick Mars’ descending guitar riffs on “Same Old Situation” all impressed.
Lee embraced the weather conditions by going shirtless. The ever-brittle Mars – two years removed from hip-replacement surgery – struggled with hitting his marks as the performance wore on.
Although his quotes of Jimi Hendrix’s “Voodoo Chile” lacked velocity, Mars salvaged the end of Motley Crue’s time in the spotlight with a run of spooky harmonics fit for a pre-Halloween night.
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