We saw scenes from James Dean's "Giant," Paul Newman's "Hud," Marilyn Monroe-Clark Gable's "The Misfits," "The Grapes of Wrath," "Paper Moon" and a Marlon Brando trifecta of "The Fugitive Kind," "On The Waterfront" and "A Streetcar Named Desire."Īudience members grew weary of the dialogue-heavy film clips, which might have a better chance of succeeding if shortened to meet today's attention spans. start were greeted by a 30-minute video of scenes from classic films spanning the 1940s through the early 1970s that had inspired Mellencamp. With Turner Classic Movies sponsors of this tour, audience members seated for the advertised 8 p.m. It was around that point where Mellencamp helpfully advised the fellas that women like a little spooning and appreciate foreplay.įans got up and danced as the set ended with "Pink Houses," "Cherry Bomb" and "Hurts So Good" all sounding resplendent.Ī pretty flawless show except for the "opening act," which sparked considerable booing. The loose and lively "Crumblin' Down" segued smoothly into the Van Morrison-penned "Gloria," with Mellencamp spryly spinning an amorous narrative that paraphrased Frank Zappa's "Dinah-Moe-Humm" before the glorious "G-l-o-r-i-a" payoff. A string of six hits closed out the show, starting with a jubilant "Lonely ol' Night," then "What If I Came Knocking" where Mellencamp sang with a thrilling, heightened zest. Mellencamp returned to the stage and hit one of the night's hard-rocking zeniths with "Rain on The Scarecrow," led by stark, stout drumming. Maybe he was backstage Googling info on nicotine patches. More: Scott Tady: Mellencamp plays Pittsburgh so let's get the lyrics right and Vento-Granati team on albumĪn interlude with the recorded voice of Mellencamp's friend, Hollywood star Joanne Woodward, reciting the singer's "The Real Life" got accompanied by elegant violin and accordion as the singer briefly left the stage. Unlike two of his most recent Pittsburgh area appearances, western Pennsylvania fans didn't botch the second verse. There was nothing cliched about it Mellencamp would sing a line then stop on a dime, confident fans would sing the next line loudly and warmly, which they did. ![]() Still strumming an acoustic, Mellencamp dug into "Jack & Diane," which turned into one of the loveliest audience sing-alongs you'd ever hope to hear. ![]() ![]() An amusing story about his 100-year-old grandmother plotting ways to get the swear-word-prone singer into heaven led to "Longest Days." Mellencamp's engaging stage gestures included a priest-like blessing in "Small Town" after the "that's probably where they'll bury me" sentiment, and amen-ish hands together at the gravesite moment of "Jackie Brown."Įxchanging an electric guitar for an acoustic one, Mellencamp set up "The Eyes of Portland" ― from his forthcoming album "Orpheus Descending" ― with the touching story of a homeless young woman he met and financially helped in Oregon's largest city.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |