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Check out Red Hot Chili Peppers tickets here.
A burst of rare summer thunderstorms rained down on fans waiting in line to see the Red Hot Chili Peppers Monday (8/21) at the Phoenix area’s Glendale Arena, but that didn’t dampen the spirits of the near-sold out crowd.
Drenched fans crowded souvenir stands to buy dry, warm clothes during the opening set by The Mars Volta, whose erratic, frenzied performance paled in comparison to The Red Hot Chili Peppers’ chill-inducing, explosive set.
Chili Peppers guitarist John Frusciante, bassist Flea and drummer Chad Smith kicked off the set with an instrumental funk jam. Once finished, black-and-white-clad singer Anthony Kiedis arrived on stage like a boxer preparing for a fight. Frusciante’s opening riff to “Can’t Stop” sent the audience into a frenzy as Smith tossed a drum stick in the air, but missed when trying to catch it. That sent the Michigan-bred drummer into laughter. Four video screens with black-and-white footage of the band slowly arose from behind Smith, complementing the giant wall of lights that filled the back of the stage. A wall of horizontal lights also ascended from the top of the stage and extended to the scoreboard in the middle of the arena.
The band followed “Can’t Stop” with a pitch-perfect rendition of “Dani California,” from its first No. 1 album, “Stadium Arcadium.” Audience members simultaneously released their fists as Kiedis sang the chorus, during which the video screens alternated quickly between shots of Frusciante’s and Flea’s fingers.
It was hard to tell what was more popular with the crowd: Kiedis’ punchy dancing, Frusciante’s blistering guitar solos or Flea’s slap-happy bass licks. During “Dani California,” some fans played air guitar to Frusciante’s parts, and others danced spastically to solos by Flea, who was dressed like a Cirque du Soleil member.
“I hope you all brought love to this party,” Kiedis said during a rare word to the audience. “That’s all you need to bring.”.
Adding to the 1-2-3 punch of the opening numbers, Kiedis’ words segued into “Scar Tissue.” Chandelier-like lights with hidden speakers and search lights descended from the ceiling and lit up the crowd. Proving his athletic prowess is still in tact, Kiedis ended the song with a handstand on Smithâ€™s bass drum.
“Stadium Arcadium” was obviously a big part of the two-hour show, offering “Charlie,” which delivered more heat than the album rendition, “Readymade,” the title track and “Snow (Hey Oh).”
On the covers front, the Chili Peppers played a few bars of “London Calling,” and later Frusciante sang an impressive rendition of Simon and Garfunkel’s “For Emily (Wherever I May Find Her).”
The almost 20-song set also featured the melancholy “Soul to Squeeze,” “Blood Sugar Sex Magik” and “By the Way,” during which red lights searched the audience, landing on random ticket holders. Encores included the mega-hits “Under the Bridge” and “Give It Away.”
Red Hot Chili Peppers Tour Dates
Red Hot Chili Peppers Tickets – 8/22 – San Diego, CA – ipayOne Center
Red Hot Chili Peppers Tickets – 8/24 – Oakland, CA – Oakland Arena
Red Hot Chili Peppers Tickets – 8/25 – Oakland, CA – Oakland Arena
Red Hot Chili Peppers Tickets – 8/27 – Fresno, CA – Selland Arena
Red Hot Chili Peppers Tickets – 8/28 – Sacramento, CA – Arco Arena
Red Hot Chili Peppers Tickets – 8/31 – Los Angeles, CA – The Forum
Red Hot Chili Peppers Tickets – 9/01 – Los Angeles, CA – The Forum
Red Hot Chili Peppers Tickets – 9/14 – Vancouver, BC – General Motors Place
Red Hot Chili Peppers Tickets – 9/16 – Calgary, AB – Pengrowth Saddledome
Red Hot Chili Peppers Tickets – 9/17 – Edmonton, AB – Rexall Place
Red Hot Chili Peppers Tickets – 9/19 – Saskatoon, SK – Saskatchewan Credit Union Center
Red Hot Chili Peppers Tickets – 9/20 – Winnipeg, MB – MTS Centre
Red Hot Chili Peppers Tickets – 9/23 – Baltimore – Virgin Festival – Pimlico Race Course
Red Hot Chili Peppers Tickets – 9/25 – Toronto, ON – Air Canada Centre
Red Hot Chili Peppers Tickets – 9/26 – Toronto, ON – Air Canada Centre
Red Hot Chili Peppers Tickets – 9/28 – Montreal, QC – Bell Centre
Red Hot Chili Peppers Tickets – 9/29 – Ottawa – Scotiabank Place
Red Hot Chili Peppers Tickets – 10/01 – Quebec City, QC – Colisee Pepsi Arena
Red Hot Chili Peppers Tickets – 10/02 – Boston, MA – TD Banknorth Garden
Red Hot Chili Peppers Tickets – 10/17 – East Rutherford, NJ (New York) – Continental Airlines Arena
Red Hot Chili Peppers Tickets – 10/18 – East Rutherford, NJ (New York) – Continental Airlines Arena
Red Hot Chili Peppers Tickets – 10/20 – Boston, MA – TD Banknorth Garden
Red Hot Chili Peppers Tickets – 10/21 – Albany, NY – Pepsi Arena
Red Hot Chili Peppers Tickets – 10/23 – Philadelphia, PA – Wachovia Center
Red Hot Chili Peppers Tickets – 10/24 – Philadelphia, PA – Wachovia Center
Red Hot Chili Peppers Tickets – 10/26 – Atlanta, GA – Gwinnett Civic Center
Red Hot Chili Peppers Tickets – 10/28 – New Orleans – Voodoo Music Experience (venue TBA)
Red Hot Chili Peppers Tickets – 10/30 – Columbus, OH – Schottenstein Center
Red Hot Chili Peppers Tickets – 10/31 – Cleveland, OH – Quicken Loans Arena
Red Hot Chili Peppers Tickets – 11/02 – Grand Rapids, MI – Van Andel Arena
Red Hot Chili Peppers Tickets – 11/03 – Detroit, MI – Palace of Auburn Hills
Red Hot Chili Peppers Tickets – 11/05 – Minneapolis, MN – Xcel Energy Center
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Click here to buy Rolling Stones Tickets online.
Despite the recent slew of setbacks threatening their world tour, the Rolling Stones were back with a bang Sunday night–A Bigger Bang.
The “Start Me Up” rockers returned to the stage after being forced to cancel two concert dates in Spain last week while frontman Mick Jagger recovered from a bout of laryngitis.
The 63-year-old singer reportedly made no mention of his ailment during the show, but he had no problems referencing those of his coconut-wrangling guitarist Keith Richards, whom he introduced as “Keith Headbanger.”
Of course, as with most dates on the Stones’ never-ending world tour, the concert was not without its hitches.
Originally scheduled to take place in London’s Wembley Arena, the gig was rerouted to the slightly smaller Twickenham Stadium when it became clear there was not adequate time to prep the first location.
“We were meant to be at Wembley,” Jagger said by way of explanation. “I think they’re going to get Wembley ready for the farewell tour of the Arctic Monkeys.”
Still, the new locale made the U.K. gig even more of a homecoming for the boys, as the stadium was no more than a stone’s throw, as it were, from where Jagger, Richards, et al. first banded together.
“It’s strange how you wind up back where you started, here in Twickenham, in Richmond,” Jagger said.
According to critics, the band was back in fighting form as well.
Britain’s Guardian newspaper said the concert showed every sign of “going on until the end of time, not unlike Keith Richards himself.” Which is at least partially a compliment. London’s Independent, meanwhile, proclaimed that there was “no expense spared” on the gig, though they followed up the praise by adding there was also “no taste wasted.”
The concert date marked the resumption of a tour that has been almost ridiculously marred by mishaps.
Last spring, shortly before the Stones were set to kick off the European leg of A Bigger Bang, Richards notoriously tumbled head-first from a coconut tree while vacationing in Fiji. His concussed cranium resulted in the group postponing their tour by nearly two months.
In June, when it was slated to resume, reports surfaced that Wood had entered rehab, prompting rumors the tour would again be postponed, though it did begin as planned on July 11.
Last week, the tour was again plagued with misfortune as Jagger was diagnosed with laryngitis and ordered to rest his voice, causing the cancellation of the sole two Spain dates on the tour.
The Stones are due to play their second gig in London tomorrow night.
Rolling Stones Concert Itinerary September
Rolling Stones Tickets September 20 Gillette Stadium Foxborough MA
Rolling Stones Tickets September 23 Halifax Commons Halifax Nova Scotia
Rolling Stones Tickets September 27 Giants Stadium East Rutherford NJ
Rolling Stones Tickets September 29 Churchill Downs Louisville KY
Rolling Stones Concert Itinerary October
Rolling Stones Tickets October 1 Cessna Stadium Wichita University KS
Rolling Stones Tickets October 4 Grizzly Stadium Missoula
Rolling Stones Tickets October 6-8 Mosaic Stadium Taylor Field Regina Saskathewan
Rolling Stones Tickets October 11 Soldier Field Chicago IL
Rolling Stones Tickets October 17 Qwest Field Seattle WA
Rolling Stones Tickets October 20 Sun Bowl El Paso
Rolling Stones Tickets October 22 Zilker Park Austin
Rolling Stones Tickets October 27 Boardwalk Hall Atlantic City
Rolling Stones Concert Itinerary November
Rolling Stones Tickets November 3 BC Place Stadium Vancouver
Rolling Stones Tickets November 5 McAfee Coliseum Oakland
Rolling Stones Tickets November 8 Cardinals Stadium Phoenix AZ
Rolling Stones Tickets November 11 MGM Grand Las Vegas NV
Rolling Stones Tickets November 14 Idaho Center Nampa ID
Rolling Stones Tickets November 18 Dodger Stadium Los Angeles CA
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Check out Eric Clapton Tickets here.
Eric Clapton walks alone into the light and sits down. Wearing a blue shirt and khaki pants, cradling an acoustic guitar, he starts picking Big Bill Broonzy’s “Key to the Highway” for a rapt crowd of 6,800 at the Forum in Copenhagen. The rhythm of Clapton’s left foot, thumping the floor, is strong and clear. So is his voice. Two days short of his fifty-sixth birthday, Clapton sings Broonzy’s travelin’ blues, cut in 1941, with the leathery authority of one who has been on the road almost as long.
The next two hours are a soulful roll with his five-piece band through Clapton’s own life story: “Tears in Heaven,” “Bell Bottom Blues” and “Layla”; the autumnal pop of his new album, Reptile, dedicated to his late uncle, Adrian Clapton. Then at the end, after a gleaming “Sunshine of Your Love,” Clapton sits down again with the acoustic guitar and plays an unexpected blues: “Somewhere Over the Rainbow,” from The Wizard of Oz. Swinging slightly behind the beat, Clapton digs into the song with juke-joint force. But there is an exhausted melancholy in his performance too, the sound of a man nearing the end of his highway.
“It was born on holiday,” Clapton says the next day in his kingly hotel suite, still wearing those khaki slacks, this time with a 1970s-vintage Stevie Wonder T-shirt. On a recent trip to the Caribbean, Clapton – who never travels anywhere without a guitar – learned “Somewhere Over the Rainbow,” purely “to test my musical intelligence.” He kept fiddling with the tune in tour rehearsals: “The sound guys were going, ‘What the fuck is this all about?’ ” But the song,” Clapton says, “insisted itself into the show.” As a youngster in Ripley, England, a village in the Surrey countryside outside London, Clapton went to the cinema with his uncle, usually on Adrian’s dates with his future wife, Eric’s Aunt Sylvia. “I was their chaperon,” Eric recalls. “We would see movies like Gunfight at the O.K. Corral, High Society and Carousel. The music from that period was so powerful.”
“As I get into my old age,” he continues, “those songs are coming up. I may have to do another couple of albums to get these things out of my system – before I can lay down and rest.” Clapton delivers that line with a laugh. But he means it. Clapton’s current world tour, he says, is his last.
Now in his fourth decade of recording, Clapton enjoys a unique, continuing relevance. He is virtually alone among his classic-rock peers in terms of his work rate – Reptile is his fourth studio project in five years – and sales. Last year’s Riding With the King, Clapton’s record with longtime idol B.B. King, sold more than a million copies. Personally, Clapton declares, “I’m in a good space with my domestic life.” He is expecting a child by his girlfriend of the last two years, Melia McEnery, a twenty-five-year-old graphic artist from Ohio.
Yet Clapton admits that as he was planning this tour, which began in England in February and ends on August 18th in Los Angeles, “I was musing that it might be the last time. Now I’m going, ‘This is definitely the last time.’ It’s hard. It doesn’t work for me anymore. I get indigestion. I get tired.” He grins. “Just talking to you – I’ll pay for this.”
“I will leave the door open for a couple of projects, to play the odd theater,” says the guitarist, who has two albums left in his Warner Bros. deal. “But I’d say this was near the end.”
“Anyone I talk to about it goes, ‘Oh, you’ll never stop.’ I won’t, in truth. I will always want to express something. But,” he insists, “I don’t need to do it like this anymore.”
“It’s been ten years I’ve been doing this with Eric,” says Clapton’s rhythm guitarist, Andy Fairweather-Low, over coffee before showtime. “And I still haven’t figured out why when he goes – he makes a screaming-guitar sound – it has that effect on you.”
“I have one bit tonight that I do – I’ll mull over what I’m going to do when it’s my turn,” says Fairweather-Low, a buoyant Welshman who sang with the 1960s group Amen Corner and made several fine solo LPs in the 1970s. “But Eric doesn’t even think. Jump on him at any time, say ‘Go!’ and he’ll take you to another level. Then if you say ‘Once more,’ he’ll take you even higher.”
“Jump on me,” Fairweather-Low adds, “I’ll freeze.”
At the Forum with Fairweather-Low, bassist Nathan East, drummer Steve Gadd, keysman David Sancious and percussionist Paulinho Da Costa, Clapton plays with compact fire. In the 1970s, he could roll out diamond riffs for a quarter hour in a single blues like T-Bone Walker’s “Stormy Monday.” But tonight’s high points include the precise shiver of Clapton’s break in “River of Tears,” from the 1998 album Pilgrim, and his gabba-gabba burst of wah-wah in the Reptile cover of J.J. Cale’s “Travelin’ Light.” “I can’t play long solos anymore without boring myself,” Clapton contends. “I think it’s important to say something powerful and keep it economical. That wasn’t available to me as a younger player. I was motivated by ego. If I thought I was doing something good, I would do it all night.” Backstage, Clapton is a man without any visible superstar pretensions. In the band lounge, he greets visitors warmly, fixes his own cappuccino and tries to coax band mates and crew members into table-soccer matches. (It’s a tough sell; Clapton is an ace player.) The owlish spectacles he wears offstage, combined with his close-cropped hair and grayish beard, lend him a professorial air. But it suits his encyclopedic passion for music. During the opening set by guitarist Doyle Bramhall II and his band, Smokestack, Clapton cocks an ear at a quote in one of Bramhall’s solos. “‘Stone Free,'” Clapton says quickly, referring to the Jimi Hendrix song.
Clapton is “definitely a fan of music,” says the Texas-born Bramhall, who contributed songs and guitar to Reptile and Riding With the King. “I grew up playing the blues. I know some obscure artists. I thought I would hip him to some: Louisiana stuff like Lightnin’ Slim.” Bramhall laughs at his audacity. Clapton “knew all about them: the artists, the other people who played on the records, the producers.”
Clapton talks of his own career with a directness that reflects years of acute study. Asked whether there is any misconception about him as a musician that he would like to clear up before he retires, he simply says, “That I’m any good, really.” Even in front of the most adoring audience, he goes on, “I’m just trying my best to sing in tune. I’m focusing with all my might to get the next note on the money.”
But Clapton is not embarrassed by acclaim. “It was great support,” he says of the legendary graffiti, CLAPTON IS GOD, that appeared in London during his 1965-66 tenure with bluesman John Mayall. “It was instrumental in giving me the confidence to push forward. When I left the Yardbirds, then John Mayall and Cream, these were all scary decisions to make. I could have stayed and cleaned up. But I used that support to say, I must be doing the right thing.”
Clapton is fearless about assessing his earliest successes, how the immediate superstardom that came in the 1960s with Cream and Blind Faith both fed and masked his emotional insecurities. “I was so disappointed,” he says of listening to the disc of unreleased jams that came with the recent reissue of the Blind Faith album. “At the time, I thought these were magnificent things we were doing, just jamming away. But I was a kid. The only personality I had was within my fingers. I could play it, but I couldn’t say it. When we didn’t have a song, I’d just think, ‘Let’s get stoned.’ Which we did when we didn’t know what we were doing.”
Clapton looks back on his records from the mid-1970s – after his recovery from heroin addiction and as he sank into a drinking problem that lasted into the mid-1980s – with the same honesty. “My attitude was anti-guitar playing, and I thought I was doing the absolute right thing,” he says. “A lot of it was wrapped up in my alcoholism. There was a denial in the way I was approaching those records: One in Every Crowd, Another Ticket, Backless. I got a lot of flak, and I wouldn’t listen.”
“Since I got sober, I’ve just been trying to develop . . .” – Clapton pauses, searching for the right phrase – “a career with dignity, records where I can say, ‘I finished it, it’s complete.’ Whether or not it’s up to the standard of the current thing, it’s complete.”
Eric Clapton was born on March 30th, 1945. His mother, Pat, was sixteen and unmarried; she left Eric in the care of her mother, Rose, and Rose’s second husband, Jack, who raised Eric in Ripley. Pat later married a Canadian serviceman and had three more children, a boy and two girls. Clapton is still not certain who his own father was: “My father, I think, was Canadian,” he says. “I’m not 100 percent sure.” But in Pat’s brother Adrian, Eric found a valuable paternal influence, one he celebrates in conversation as well as on Reptile.
The album title, Eric explains, is local Ripley slang, “a put-down, but only in a way that you would say to someone you really like.” To Eric, Adrian was indeed a reptile, an endearing rogue who taught him much about the world.
“He was a rebel, a local James Dean,” Eric says. An old photo in the Reptile CD booklet – a handsome, raffish Adrian with Sylvia at a British seaside resort – confirms Eric’s description. Adrian was an engineer for a motor company. He was also an atheist and a science-fiction enthusiast (“He had all of the early Kurt Vonnegut books,” Clapton notes). Adrian played the chromatic harmonica and introduced Eric to jazz and the swing music of Stan Kenton and Woody Herman. “I started getting to the blues from other people,” Eric says. But “hearing that dance-band stuff – messages were coming through.”
At fifteen, Clapton got his first guitar; by eighteen, he had dropped out of Kingston College of Art and was in the Yardbirds. Over time, the bond between uncle and nephew “got lost,” in Clapton’s words. When the guitarist stopped drinking, he broke off nearly all contact with Adrian. Eric deeply regrets that now.
“When I got sober,” he says, “I had to re-evaluate all of the old people, places and things, see how dangerous they are to staying sober. My mother and uncle were big boozers. I deliberately removed myself. I became very anti-social and hardly spoke to him at all. For the last ten years of his life, I was not there.” Adrian died in the spring of last year. Reptile did not start out as a memorial to Adrian. Clapton set a date to start recording, showed up, then realized, as he puts it, “that I didn’t have an idea what I was there for.” He took a break to visit his half sisters, who live in Canada, and spent a lot of time with them talking about Adrian: “I went, ‘Of course, that’s what’s going on in me, and I’m not attending to it.'” Clapton had already been working on a country-blues shuffle, “Find Myself.” “The chorus didn’t make any sense,” he says, “until I wrote the verses about my experiences with my uncle and the way I felt about him. I had the musicians, I had the studio time. Then I got the message: ‘I need to sing about this area of my life.'”
Nightly, onstage, Clapton revisits specific, painful chapters of his past: in “Bell Bottom Blues” and “Layla,” his desperate and, at the time, unrequited love for Pattie Boyd, ex-Beatle George Harrison’s then-wife, whom Clapton eventually married in 1979; in “Tears in Heaven,” the 1991 death of his first son, Conor, in a fall from a high-rise apartment window in New York. Clapton accepts that these songs are hits, that he is obligated to play them at every show. But it has not been easy.
He remembers going on tour in 1992, after “Tears in Heaven” went to Number Two. “I’d walk out, start playing that, and the applause . . . they would drown me out,” he says. “I would get furious. Afterward, offstage, I would be inconsolable. I was feeling vulnerable and exposed – and they’d be chanting and yelling and whistling. I was raw and not able to make sense of it.”
“I don’t go back to that specific event when I perform the song now. I honor the way I was, try to reflect on it and do a good performance. It isn’t difficult now. It’s good fun.” Clapton made Reptile with the same intention. Much of the record is given over to pure pleasure: covers of “Come Back Baby” by Ray Charles and Stevie Wonder’s “I Ain’t Gonna Stand for It,” in which Clapton admits, with a wink, that he is “honoring my own taste.” But Reptile commemorates the individualism Adrian passed on to his nephew. “That’s why I had such a great love for him: You could not bat him off course,” Eric says. After Adrian died, Eric learned that his uncle never begrudged Eric for being out of touch.
Adrian “never tried to contact me or ask for anything,” Eric says. “And from what I’ve gathered, he wouldn’t hear a word spoken about me in criticism. People would say, ‘How come Eric hasn’t been around to see you?’ He’d say, ‘Well, that’s his business.’ He’d stop ‘em short. A wonderful man.”
In the band lounge at the forum, after his second Copenhagen show, Clapton is talking about retirement again. “I’ve been retiring since I was seventeen,” he exclaims cheerfully. “It was imminent. When I left the Yardbirds in 1965, it was over!”
“I think I’ve always been looking for the journey to end,” he adds with more seriousness. “My life in music is eternal. But the notion of trying to fit into an industry that I no longer have any admiration for . . .” His voice trails off, not in disgust or weariness but sadness.
Clapton already knows what he wants to do on his last two Warner Bros. records. One will be a collaboration with the Impressions, who contributed backing vocals to Reptile. The other will be “soulful rock blues, like an old Tony Joe White record.”
And he is clearly thinking about the end of the road. Asked what he would like to play as the final encore of his last-ever show, Clapton recoils in mock-horror. “God!” he exclaims. “What a leading question.” He has an idea, though. “There’s a great song that I discovered on a Nat “King” Cole trio album that I’m going to learn, ‘For All We Know.'”
“The first verse goes, ‘For all we know/We may never meet again.’ I know this from the mortalities that have happened in my life. The real shock was my son. What I learned from that was that every moment is precious. Either one of us could walk out of this room, and I would never see you again, for one reason or another. We have to get the max out of every moment. So me doing a tour – it really is a good idea to think about it as, ‘You and I may not do this again.'”
“People think it’s a drama-queen attitude,” he says. “It’s a reality check. This is probably the last time, guys. So I’m going to try and give it my best shot.”
“And I hope you can make it.”
Eric Clapton Tour Dates:
Eric Clapton Tickets 9/16: Minneapolis – Xcel Energy Center
Eric Clapton Tickets 9/18: St. Louis – Savvis Center
Eric Clapton Tickets 9/20: Chicago – United Center
Eric Clapton Tickets 9/21: Grand Rapids MI – Van Andel Arena
Eric Clapton Tickets 9/23: Auburn Hills MI – Palace of Auburn Hills
Eric Clapton Tickets 9/24: Toronto – Air Canada Centre
Eric Clapton Tickets 9/26: Ottawa ON – Scotiabank Place
Eric Clapton Tickets 9/28: New York – Madison Square Garden
Eric Clapton Tickets 9/29: New York – Madison Square Garden
Eric Clapton Tickets 10/3: Boston – TD Banknorth Garden (Fleet Center)
Eric Clapton Tickets 10/6: Uncasville CT – Mohegan Sun Casino
Eric Clapton Tickets 10/7: Uncasville CT – Mohegan Sun Casino
Eric Clapton Tickets 10/9: Philadelphia – Wachovia Center
Eric Clapton Tickets 10/10: Washington DC – Verizon Center
Eric Clapton Tickets 10/12: Charlottesville VA – John Paul Jones Arena
Eric Clapton Tickets 10/14: Duluth GA – Gwinnett Center
Eric Clapton Tickets 10/15: Raleigh NC – RBC Center
Eric Clapton Tickets 10/17: Charlotte NC – Charlottte Bobcats Arena
Eric Clapton Tickets 10/18: Birmingham AL – Birmingham Jefferson Arena
Eric Clapton Tickets 10/20: Orlando – TD Waterhouse Centre
Eric Clapton Tickets 10/21: Jacksonville – Jacksonville Veterans Memorial Arena
Eric Clapton Tickets 10/23: Miami – American Airlines Arena
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Check out Def Leppard & Journey Tickets here.
Def Leppard and Journey, who are in the midst of a co-headlining summer tour, will remain linked for a newly announced batch of fall shows.
After wrapping up the in-progress summer run in late September, the fellow rock vets will return to the stage for about a dozen October dates that are booked into arenas and amphitheaters throughout the US. Details are included below.
Def Leppard continues to back its May release, “Yeah,” a covers album that features the band’s takes on works by The Kinks, Badfinger, T. Rex, David Bowie, Sweet, Roxy Music, Mott the Hoople, Free, The Faces and Thin Lizzy, among others. The set features the group’s rendition of David Essex’s “Rock On,” the music video for which recently made its way into the Top 10 on VH1’s “Top 20 Countdown.”
“Yeah” follows last year’s “Def Leppard–Rock of Ages: The Definitive Collection,” a two-disc best-of set. Later this year, the band plans to issue “Hysteria: Deluxe Edition,” a souped-up version of its multi-platinum 1988 album, “Hysteria.” The disc is scheduled to surface in “late 2006,” according to the group’s website.
Journey continues to back last year’s “Generations,” its 13th studio album. Produced by Kevin Elson–who also produced Journey’s multi-platinum “Escape,” “Departure” and “Frontiers” albums, as well the double-platinum live set “Captured”–“Generations” is the band’s first collection of all-new material since its 2002, four-song EP, “Red 13.”
Journey recently replaced lead singer Steve Augieri with vocalist Jeff Scott Soto, citing a vocal ailment Augieri is battling.
Augieri had fronted the band since the late ’90s, at which time he took over for original lead singer Steve Perry, who sang on the band’s best-known songs, including hits such as “Don’t Stop Believin’,” “Wheel in the Sky,” “Any Way You Want It” and “Open Arms.”
Soto, who got his start fronting guitarist Yngwie Malmsteen’s band in the mid-’80s, previously worked with Journey guitarist Neal Schon in a side project dubbed Soul SirkUS. He has spent a number of years helming the group Talisman, and has also released several solo albums.
Def Leppard and Journey are both members of an exclusive list of artists who have seen at least one of their albums achieve Diamond certification by the Recording Industry Association of America, signifying sales of 10 million copies. Leppard accomplished that feat with 1983’s “Pyromania” and its follow-up, “Hysteria,” while Journey scored the award for its 1988 best-of set, “Journey: Greatest Hits.
Def Leppard and Journey Fall Concert Dates
Def Leppard Journey Tickets August 18 Mandalay Bay Events Center Las Vegas NV
Def Leppard Journey Tickets August 19 Verizon Wireless Amphitheatre Irvine CA
Def Leppard Journey Tickets August 22 Cricket Pavilion Phoenix AZ
Def Leppard Journey Tickets August 23 Coors Amphitheatre Chula Vista CA
Def Leppard Journey Tickets August 25 Chronicle Pavilion Concord CA
Def Leppard Journey Tickets August 26 Shoreline Amphitheatre Mountain View CA
Def Leppard Journey Tickets August 27 Sleep Train Amphitheatre Marysville CA
Def Leppard Journey Tickets August 30 Clark County Amphitheatre Ridgefield WA
Def Leppard Journey Tickets August 31 White River Amphitheatre Auburn WA
Def Leppard Journey Tickets September 2 Idaho Center Nampa ID
Def Leppard Journey Tickets September 3 Events Center Reno NV
Def Leppard Journey Tickets September 6 Verizon Wireless Amphitheatre Bonner Springs KS
Def Leppard Journey Tickets September 7 Hilton Coliseum Ames IA
Def Leppard Journey Tickets September 9 Marcus Amphitheatre Milwaukee WI
Def Leppard Journey Tickets September 10 Germain Amphitheatre Columbus OH
Def Leppard Journey Tickets September 12 Blossom Music Center Cuyahoga Falls OH
Def Leppard Journey Tickets September 13 Post-Gazette Pavilion Burgettstown PA
Def Leppard Journey Tickets September 15 PNC Bank Arts Center Holmdel NJ
Def Leppard Journey Tickets September 16 Saratoga PAC Saratoga Springs NY
Def Leppard Journey Tickets September 19 Mohegan Sun Uncasville CT
Def Leppard Journey Tickets September 20 Darien Lake PAC Darien Center NY
Def Leppard Journey Tickets September 22 Borgata Hotel Atlantic City NJ
Def Leppard Journey Tickets September 23 Tweeter Center Mansfield MA
Def Leppard Journey Tickets October 11 Save Mart Center Fresno CA
Def Leppard Journey Tickets October 13 Hollywood Bowl Los Angeles CA
Def Leppard Journey Tickets October 14 Hyundai Pavilion Devore CA
Def Leppard Journey Tickets October 16 Journal Pavilion Albuquerque NM
Def Leppard Journey Tickets October 17 Budweiser Events Center Loveland CO
Def Leppard Journey Tickets October 19 Ford CenterOklahoma City OK
Def Leppard Journey Tickets October 21 FargoDome Fargo ND
Def Leppard Journey Tickets October 22 Qwest Center Omaha NE
Def Leppard Journey Tickets October 24 Van Andel Arena Grand Rapids MI
Def Leppard Journey Tickets October 25 Resch Center Green Bay WI
Def Leppard Journey Tickets October 27 Mark of the Quad Cities Moline IL
Def Leppard Journey Tickets October 28 US Cellular Coliseum Bloomington IL
Def Leppard Journey Tickets October 30 FedEx Forum Memphis TN
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Check out Gun N’ Roses Tickets here.
Comeback rockers Guns N’ Roses are beginning to commit to their long-promised US tour plans, with a pair of two-night stands now on the books for Las Vegas and San Francisco.
The Las Vegas dates are set for Sept. 16 and 17 at the Hard Rock Hotel, while the San Francisco shows are booked for Sept. 20 and 21 at The Warfield.
More dates are expected to surface in the coming days.
Guns N’ Roses recently wrapped up a European tour that was fairly uneventful by frontman Axl Rose’s standards. However, Rose was arrested following his band’s Stockholm, Sweden, stop for allegedly scuffling with a security guard and busting up a hotel lobby; the singer also fell ill near the end of the European tour’s final show at London’s Wembley Arena. (Former Skid Row vocalist Sebastian Bach took over to finish out the set.)
GN’R’s most recent major US tour was in 2002. That troubled outing was cut short with more than a dozen shows remaining on its schedule, after Rose failed to show up for two gigs.
Rose is the only remaining original member of Guns N’ Roses. The group is currently rounded out by keyboardist Dizzy Reed, bassist Tommy Stinson, keyboardist Chris Pitman, drummer Brian “Brain” Mantia, and guitarists Robin Finck, Richard Fortus and Ron “Bumblefoot” Thal.
The band has been working the road in advance of its supposedly soon-to-be-released album, “Chinese Democracy.” The disc, which has been in the pipeline for about a decade, and the release of which has been delayed repeatedly over the years, will be the group’s first collection of original material since the early ’90s. No specific release date has been announced.
Guns N’ Roses Concert Dates
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