Items filtered by date: November 2007

The Venue inside of Hammond, Indiana’s Horseshoe Casino always has some of the best acts that come through the area. The setting for a show is a top notch facility with not a bad seat in the house. The theater will start to fill up and the entertainer du jour will start their show. On Saturday night, a seasoned performer graced the halls of The Venue with her angelic voice. After a half century of singing for her supper, musical super star Patti LaBelle sang her heart out for a packed house. It was just awesome!

From the opening song to her final bow, Patti Labelle was a graceful musical angel and the eyes of the concert goers could not be turned away. The very young looking Labelle was sporting a mini dress and showing lots of leg as she sang hard for everyone. This ripened singer really knows how to put on a show. Her voice was strong and beautiful with a lot of dynamics. She was just phenomenal in every way.

“If You Asked Me Too” was introduced as that hit song by Celine Dion in which she sold millions of copies of the song and Patti “only sold two” she said jokingly. She then began her original song and did it better than anyone else had. It was being performed the way it should always be done, by Patti Labelle.

Everyone was dancing in their seats when “New Attitude” started up. The song made famous through the 1984 movie Beverly Hills Cop was so intense with energy. The representation of the digital age was present within The Venue and this song took people back to fond memories of a crappy blue Chevy Nova being driven down Rodeo Drive.

The show marched on through a sea of hits. She nailed a great version of “Over the Rainbow” taking the crowd under her spell. When the opening line “Hey sister, go sister, soul sister, go sister” started out, people started dancing. “Lady Marmalade” was being done live and the queen of the stage was in command. She sang the song “On My Own” that she had done with Michael McDonald and it was beautiful.

During the course of the show, the set list seemed to go on and on with the band sounding incredible. The bass, the drums, the guitars, the singers, the keys, and Patti made a flawless combination. Never a sour note or an offbeat moment could be noticed. The group of traveling entertainers came in and tore the roof off of The Venue.

The night came to the point where the band has to pretend like the show is over. They wave their goodbyes and walk off stage. The lights never went out on the stage and The Venue started to get loud. They absolutely had to have some more of Patti Labelle and her smoking band. Finally a little bit of life is seen on the stage and the place cheers with excitement.

The anticipation was killing everyone. What was she going to do to close out the night? Which one of her hits was she going to bring out now? The crowd anticipated a gem and that is what they received. The strongest performance of the night was not a song written by Patti Labelle. Instead, she chose a song from the King of Pop, Michael Jackson, to end it. The “Earth Song” started to ring the first few notes and everyone in the place knew what she was about to do. Did she really dare to touch such a strong song of Jackson’s? She did! The song was perfect all the way through and Michael would be so proud to see the incredible version done.

She finally waved goodbye for real and Patti was gone. The band and this pop music icon had just taken a crowd and put smiles on everyone’s faces. The entire evening had been a nonstop session of sweet music. No one could have been disappointed by the performance that had been seen. It just wasn’t possible.

If you are looking for a good concert to see you might get lucky at The Venue in Hammond, Indiana’s Horseshoe Casino. On a beautiful Saturday evening in July, a crowd of people got lucky and saw Patti Labelle. It was just awesome!

311 has and probably will always be one of my most favorite bands ever to exist!  Having that said, they ROCKED Charter One Pavilion yet AGAIN past week on Thursday July 14th.  I've seen 311 play live many many times, and this was by far the best show I've ever seen them play.  Why some may ask?  What was so special about this show?  

THEY FREAKING BROUGHT SUBLIME WITH THEM THIS TIME AROUND!

Now, I know that there's a lot of people out there saying that Sublime will never be the same without Bradley Nowell on their side and to all the critics and fans out there; I'd actually have to agree.  But I would like to say one thing about Sublime's performance with Rome last week, and that is WOW, seriously.  I was impressed by Rome's ability to sing and virtually live up to what Sublime should sound like.  I'd like to really thank 311 for allowing them to come to Chicago to show us what they are made of!  Sublime with Rome was fantastic and I really think it's the closest to the original Sublime as it's going to get.  I have always wished that I could of seen Sublime play live back when, but this was a real treat.  I really would recommend any fan of Sublime to check these guys play live with Rome if the opportunity ever comes up.  This is as close as it gets! 

Now as great as Sublime with Rome was, I was there to see 311!!!  After Sublime played their set, my anticipation nearly exploded, literally.  For the first time ever seeing 311 live, I was blessed with a photo pass to be able to photograph them for the first 3 songs of their set.  I felt like a KING!

Now for most concert reviewers or photographers this may not be a very big deal.  But not for me, NO WAY. Please excuse my French, but I nearly shit myself with excitement.  Never in a million years would I have imagined that I would be lucky enough to be in front of EVERYONE there taking photographs of 311 as they played a live show in front of thousands of fans.  I'd like to thank BUZZNEWS for really making a dream come true for a LONG TIME 311 fan; never had I felt so lucky.  I was so close to 311 as they played that the band could literally drip sweat on me.  I mean, I was up there, in front of the gate, in the security pit as they opened with  "Down", "Jackpot", and "Sunset in July."  As I looked behind me, all I could see was thousands of fans screaming lyrics that I know too well, passed out/smashed fans being pulled out by security and photographers running around me like hamsters on a wheel snapping photo's with their all TOO expensive camera's.  I really felt like I was dreaming.  I couldn't help but stand, frozen in this moment for a while, soaking in what was happening.  It was honestly one of the best moments of my life.  

Once I finally snapped out of my haze of where and what I was doing, I was finally able to join the rest of the hamsters in the pit; and I just started snapping away photo after photo.  Mind you, I was the ONLY person there taking pictures with a 5 mega pixel camera... on my phone.  Though, I felt a little inadequate taking pictures with a phone, this feeling only lasted a short moment.  Hearing and seeing 311 play closer and louder than ever before made me not care the slightest bit that I wasn't using a big fancy camera.  After all, I came to see a show and snap some pics, not obsess over the PERFECT SHOT!

Unfortunately I was only allowed in the photo pit for 3 songs.  After that, it was back to the assigned seat I was given...or so I thought.  Luckily I quickly noticed that I was not really being escorted out of the general admission area, so once I was done shooting I quickly disappeared into the crowd to continue enjoying 311 play some more tunes.  For me, 311 shows are never just a concert.  311 is an experience.  For the rest of the night, I bumped into friends, had a few beers, shared a few laughs and just kept enjoying the night.  What a better way to enjoy summer in Chicago than by seeing your favorite band in the BEST outdoor venue in the city has to offer.  

If you've never been to Charter One Pavilion for a concert, you are really missing out.  It's a beautiful venue that over looks Lake Michigan and Chicago.  It's a great place to catch your favorite band and enjoy a night out in the city.  However, BEWARE! Beer is ALWAYS expensive and ATM's are scarce.  Be prepared to wait in long lines if you don't bring cash!!  Other than that, Charter One Pavilion is a GREAT venue and I love going there any chance I get!!!  

Set list for that night was as follows:
(Sorry if I mixed any up or failed to mention any!)

Down
Jackpot
Sunset in July
Beautiful Disaster
Do You Right
Homebrew
Rock On
Prisoner
Freeze Time
Applied Science
Wild Nights
You Wouldn't Believe
Amber
Eons
What Was I Thinking
PNUT BASS SOLO
Nutsymtom
Beyond the Gray Sky
Flowing
Come Original
Creatures

Who's Got the Herb?
All Mixed Up
Feels So Good


www.311.com


Thanks again to 311 for bringing a great show yet again to Chicago, I patiently await your next show!!!  And thanks again to BUZZNEWS for giving me yet another opportunity to write for them!!!!


Peace, love, unity, respect.
311!

I remember watching old movies as a child in awe with great ladies like Joan Crawford, Rosalind Russell, Bette Davis and Barbara Stanwyck and thinking one day I will be a great business woman slinging out dry witticisms just like them. I also loved watching the "Beach Blanket Bingo" movies and being slightly turned on by all the clean cut kids dancing on the beach around a bonfire in bikinis.

Well, in Trogg! A Musical! I got everything I wanted from those movies plus the absolutely fabulous campy laughs and gender bending ironic twist on those themes that I’ve come to expect from a David Cerda production. Who else can take a 1970 cult classic about a misunderstood caveman and turn it into a clever laugh riot?

David also has a knack for writing genuinely funny and catchy tunes for his musicals and casting equally talented comedic singers and dancers in his shows like his costar, Ed Jones, who plays the hysterically funny Carol Ann to David Cerda’s classic and deliciously powerful and wry, "Joan Crawford". Alex Grelle who plays "Peanut" is also unbelievably funny in his every gesture and has a real knack for physical comedy.

I really enjoyed the entire cast in this, and Julie Bert Nichols, Megan Keach, Elizabeth Lesinski and Andrew Swan also deserve special mention for their great dance skills and comic turns. Props also to the cast choreographer who kept the theatre hopping with choreography that was highly entertaining, making you feel there was something different and interesting to watch on every inch of the stage. Directed by Scott Ferguson, the deadpan, campy and deliciously visual is perfectly blended together, making "Trogg" a fun-filled experience.

Just like it’s well dressed and coiffed predecessors, "Lady X", "Poseidon! An Upside Down Musical" and "Rudolph the Red Hose Reindeer", "Trogg A Musical" may have a few adorable kitschy and skimpy costumes but it is not skimpy on laughs or great music, so you really can’t find a better way to get real bang out of your theatre buck this summer!

"Trogg! A Musical", written by David Cerda with Cherly Snodgrass and Taylor E. Ross, is currently playing at Chopin Theatre (1543 W. Division) through July 16th. For tickets and more information check out Hell in a Handbag Productions website at www.handbagproductions.org or call 800-838-3006.

Eye on India is a 10 day festival comprised of cinema, music, dance, theatre, literature and food, which was created "to promote the theme of universality in today's increasingly polarizing context” (Sanjoy Roy 2011.)

I attended Day One of the festival, and the pre-show shindig, at the Harris Theater in Chicago's Millennium Park. The duds worn by the party-goers were the first thing that caught my eye. The traditional Indian gowns that many of the ladies wore were fashion masterpieces for sure! Joan Rivers, the Barney Fife of The Fashion Police, better not shoot her mouth off, and tear traditional Indian gown designers a new asshole. Or, perhaps I will protest she give up her Fashion Police badge and Plastic Surgery addiction immediately.

The hors d'oeuvres served were amazing and the conversations I had with some men and women from India in regard to their culture were highly intellectually stimulating, titillating, and straight up, out-of-this-world in every meaning of the idiom.

Two glasses of Heinekens later, the Eye on India performances began in the wee-bit nippy Harris Theatre. The opening act began, which was The Chicago Children's Choir and The Natya Dance Theater. The Natya dancers were a joy to see. They were all beautiful, healthy-sized young ladies and were, refreshingly, not put in Hootchie-Mama costumes!

The Chicago Children's Choir and Natya Dance Theatre had such easy-to-see talent that was intriguing and invigorating to watch and listen to minute by minute. Plus, the lyrics of the song The Chicago Children's Choir opened with called for world peace, and the lead singer sang with infectious, gospel music-like passion.

India's Violin Icon, Dr. L. Subramaniam's performed with Ambi Subramaniam on violin and T.A.S. Mani on Mridangam the entire time. They performed one of Dr. L. Subramaniam's own compositions, which was in the kriti format, and allowed the musicians to improvise at certain times. With that said, the music was suspenseful, and there were exciting and fulfilling climaxes throughout the composition.

I periodically looked around during the show to see most of the audience's faces gave me the impression they were thoroughly enjoying the performance from its start to finish.

Dr. L. Subramaniam is a world renowned performer, producer, conductor and composer who has 150 recordings, some of which were for movies like "Little Buddha". He is clearly adored by many.

There will be different performers and acts, than the ones I critiqued, at Eye on India until the festival's last day on July 17th. For information please go to: www.EYEonINDIA.com. Each of the new upcoming Eye on India events I read about sound like they will be culturally eye-opening and fully satisfying.

David Henry Hwang, a small Asian American who wears a wide smile and a baggy suit, is not physically intimidating; but his newest play, Chinglish, reveals him as a towering and accomplished playwright well-versed in the conventions of film and theater, with a sharp wit and compassionate heart. Best known for his 1988 Tony-award winning M. Butterly, a comedy inspired by an American’s mistaken love affair with a Chinese woman who is actually a man, Hwang tackles a similar clash of cultures in the Goodman Theatre’s world premier of Chinglish, focusing not on gender, but on language.

Daniel Cavanaugh, a delightfully ignorant American businessman humorously played by the lanky, high-pitched James Waterston, arrives in the small town of Guiyang, China (only 3 million people) to offer his sign translating services to the government. His financial motives in travelling to China are far from the Orientalism of much of the twentieth century, which exoticized the “East” into an other-worldly wonderland. Now, China is a powerful market where business people come to capitalize.

In this world of business, cultures clash as Daniel must understand not only a different language but a different way of doing business with allegiances and responsibilities. Employed translators, with projected subtitles appearing above their heads, occasionally miss the mark completely, but also frequently reveal another character’s subtext. Mistranslating lends itself to humor, frustration, and poignant dramatic moments that speak to a frustrating inability to cross-communicate. When Daniel isn’t conducting business, he finds himself getting busy with a Chinese woman, powerfully played by Jennifer Lim. Devotion, marriage, and intimacy are explored as they are reflected through the prisms of American and Chinese ideals. Of course, hot passionate sex tends to transcends translation.

These romantic encounters take place on a dual rotating set facilitates, which lends a cinematic quality to the piece as characters travel through hotel lobbies to hotel rooms energized by the pulsing beats of contemporary Chinese pop music. Impressive at first, these twists and turns become a bit burdensome during the fifteen or sixteenth round-a-bout. Along with set twists are plot twists, perhaps one too many, that continue throughout the piece. Heavy plot means heavy dialogue, and moments of silence are rare. But when they do appear, we hear the understanding that can exists when we stop yelling and just exists with another.

Language, that mysterious way we communicate by making noises with our mouths and scribbling shapes on a sheet of paper, is a curious thing. Biological urges and cultural thoughts spontaneously arise in us, and we must translate them into words so we can share them with someone else. Translating between two different languages is, at some level, a blown-up version of the inherently human task of translating individual experience into a shareable, understanding social observation. Chinglish reminds us that perfect translations don’t exists for words between cultures, just as perfect translations don’t exists for experiences between people.

The only proper response to a Will Eno play is suicide. The existentialist, Brooklyn-based playwright enjoys holding a mirror up to his audiences so they can watch themselves slowly die. He is also very funny. The 46-year old, whose Thomas Pain (based on nothing) was a finalist for the Pulitzer Prize for Drama back in 2005 has penned an equally engaging piece that explores life and death, humans and animals, space and time, and everything in between. Middletown, a darkly humorous play first produced at the Vineyard Theater in New York last November, is taking up residence at Steppenwolf as the last play of their season devoted to exploring public/private lives.

Two windows in two houses stand on opposite sides of a circular median where the residents revolve like planets around the sun, living humdrum lives that are simultaneously boring and profound. Mary Swanson, the newest Middletownian, lives in the left with her distant and never-seen husband; John Dodge, a graying lifer in the town, lives on the right. They meet in the middle, and their odd, hesitant friendship forms the central relationship of the piece. Facilitated by the Librarian (played regally by Artistic Director Martha Levy), their bond anchors of the show, as a Cop, Mechanic, and Astronaut wax philosophical about existence. The result is a powerful thought piece, poetically written and masterfully acted by some of the most talented performers in Chicago.

 The characters, despite divergent professions and stages of life, all speak as Eno. For that reason, Eno is at his strongest when his characters speak directly to us. From the first monologue which brilliantly invites and alienates each audience member to the speeches scattered throughout where characters welcome and warn us about their home, Eno’s poetic and tragic chunks of language are powerful. Michael Patrick Thorton, who plays the the mechanic philosopher in a wheelchair, provides the bulk of this deadpan that kills – with both laughter and true, biting pain. Tracy Letts, fresh off his groundbreaking and Broadway-bound performance as George in Who’s Afraid of Virginia Woolf, storms the stage as the weathered George. While Brenda Barie, the female lead, seemed a bit nervous at her Equity debut, no one can fault her while playing opposite the Tony Award winning playwright and performance.

Middletown isn’t just a staged suicide note, but a twisted love letter. While painfully aware of his characters’ and his own death, Eno celebrates these individual’s lives and the loose connections we make on our sojourn to the grave. His language walks the fine line between comedy and tragedy, suggesting everything worthwhile is in between. Don’t give your attention to the individual, but to the untouchable and empty middle that floats between us all.

"Hark,who goes yonder? Well speak up man, what is it?"

"News from the East sire, Mike Kincaide has returned to Buzznews.net!!!!"

I absolutely un-apologetically love hip hop. Always have. Its in my blood. Coming from the rough neighborhood of Englewood on the southside of Chicago, r&b soul music is the soundtrack to life in that area. Growing up its hip hop which dominated the culture and way of life in the community. All your friends listened to it, hustlers sold bootleg t-shirts and tapes, gangsters dressed the part...family and friends lived by it. Happy or sad, tv or radio, it was everywhere.You couldnt avoid hip hop no matter how hard you tried.

With all that said I immediately had a strong connection to Kanye West, another southside guy who grew up in the same areas, listened to the same music and radio, and dealth with the same struggles I did. He had a strong connection with soul music, talked aout places I'd been and hung out at, had owned a very personable personality and affinity for my favorite rapper, Jay-Z...all which drew me to him. In time, while my love of Mr. West has gone back and forth because of his actions there has never been any doubt aout his talent. Continuously puts out quality if not outstanding music. He has begun to transend beyond the hiphop world which may have become his gift and his curse.

The one thing Kanye does really well is hip hop music. He can orchestrate a scene or project feeling and emotion through the artistry of his work, which is something alot of music artists  can't even fathom. Because of this and the numerous opinions and attacks by the media and others Kanye has become very reclusive in his appearances,going so far as to even move out of the country. So with the rare chance to see Kanye's act live in person at Milwaukee's Summerfest, my decsison to see his show was a no brainer.

Again much different than a typical rap shows Kanye's stage set-up is more artistic. He doesnt have a dj and performs with ballet dancers. Opening act Kid Cudi was extremely energetic and had the crowd into his show albeit only for a brief time as he only played for about 25 minutes. Cudi performed with no ballet dancers but was easily a crowd favorite and all over Kanye's upcoming set.

After about an hour wait the booming and radiating sounds of "HAM" played over the speakers. West opened the show performing "Dark Fantasy", the opening from his latest album, from a pole in the audience. Kanye didnt just connect with the crowd he had them at his mercy all night long. Dressed in all black wearing old-school red and black AirJordans and an old school snakeskin Chicago Bulls hat, Kanye opened his show very strong with a ton of energy and confidence. Kanye wasted no time ripping into hit after hit and owning the crowd. And everything he gave the crowd gave right back. West rocked out with "Hell of a Life" and tore the house down with "Monster" before turning to Kid Cudi for some assistance.

Kanye did at one point get on his soapbox, which is fine, as he made up for it by again piling hit after energetic hit together, working the stage and sweating like a madman. Going over material from previous albums including a guest appearances (West really rocked his verse from his Katy Perry collabo "E.T.") Kanye showed his hand to the observant fan on where he got his ideas for creating the setlist and show. Listening to newer material made some songs performed from the first album sound dated. Its a trick however, his mentor Jay-Z has mastered and perfected at his shows. Jay-Z seems to pull it off effortlessly while West rocks them out like they are today's current big hits when there's a strong portion of the crowd who just werent fans back then. West also follows Jay-Z's stage manerisms to a  tee, wether it be him running all over the stage, swinging his arm and hand gestures, commanding the crowd, not necessarry rapping for them. This isn't necessarily a bad thing, however West needs to find his own stage persona and presentation, which he is highly capable of.

Kanye doesnt finish as strong as he starts but the energy and list of hits keep the crowd into it. West re-creates a cool moment of the MTV debut of his big hit "Runaway", "All of the Lights" performed with Kid Cudi whips the crowd into a near frenzy, and then....splat. While I understand the significance of the song "Hey Mama", its use of a closer takes the life out of a great concert. Or maybe I'm just being insensitive. Anyway, Kanye's how isn' t much of a show, but more of a exciting presentation to loyal fans...complete with swan-like ballet dancers.

SET-LIST

1. H.A.M intro
2. Dark Fantasy
3. Power
4. Jesus Walks
5. Can't Tell Me Nothing
6. Diamonds From Sierra Leone
7. Hell of a Life
8. Monster
9. Gorgeous
10. Erase Me with Kid Cudi
11. Make Her Say with Kid Cudi
12. Flashing Lights
13. Good Life
14. Love Lockdown
15. Say You Will
16. Heartless
17. Swagga Like Us (bit)
18. Run This Town (bit)
19. E.T. (bit)
20. Homecoming
21. Through the Wire
22. All Falls Down
23. Touch the Sky
24. Gold Digger
25. All of the Lights with Kid Cudi
26. Stronger
27. Runaway
28. Lost in the World
29. Hey Mama

How long will it be to tear down the wall? Many of you Pink Floyd fans out there would know exactly what I’m talking about. Being a Pink Floyd fan for years, I decided to check out another one of those Pink Floyd tribute acts called Echoes of Pompeii, a band from Indiana. Now if you’ve read my past reviews, you would notice I reviewed another Pink Floyd tribute act called The Pink Floyd Experience. I called them one of the best I’ve seen next to The Australian Pink Floyd Show. But to be honest with you, Echoes of Pompeii blew all these groups out of the water. Not just because they sounded just like the group, but they had a spectacular light show along with it. That’s what I think sets this group apart from the rest of them.

The show took place at the beautiful Arcada Theatre in St. Charles. The theatre, run by owner Ron Onesti, seemed like it used to be an old movie theatre, but when concerts are performed there, it looks totally different. EOP stated the set with a brooding cover of “Welcome to the Machine.” Led by lead singer Jason Andrews, with twin brother Jeremy Andrews on bass guitar and vocals, together they sounded great in harmony. Along with keyboardist/backup vocalist Rob Martinez and lead guitarist/vocalist Andy Hescher, these guys had it down pat. They next went into the whole “Dark side of the Moon”, but scattered the songs through the night. With the help of 3 nice female backup singers, Betsy, Melissa, and Nanette, the harmonies sounded a lot fuller. Especially, with Nanette, one of the backup singers, singing “Great Gig in the Sky,” she belted at the top of her lungs. The guys then played one of my favorite Pink Floyd songs, “Dogs” from the Animals album, then right into “Hey You.” All the chosen songs were played to perfection.

Along with the great songs, the guys put on an incredible light show complete with lasers. One thing that was a drawback, though, was that the guys stopped after each song, like they were a bar band just playing for fun. But that’s the thing I found out about these guys, is that they play for fun. They play as a Pink Floyd cover band on the side. Regularly, they play as a bar band. Now, I think that’s pretty cool, because it only makes you more versatile.

EOP were even playing some deep tracks by Floyd that many tribute bands choose not to do, including, “Vera,” “Bring the Boys Back Home,” and “One Slip.” The one player in the band who was the highlight of the night was Bob Frankich on saxophone. He played that saxophone like no one I've ever seen. Even adding sax into songs that didn't even have sax in it.

Mostly, it was a very enjoyable concert. Kudos to this group. Though, I have to leave one criticism, and that's to let the music flow into each other. Just an opinion. But overall, nice job guys!

It was a night of the showmen at Ravinia Thursday night with the headliner being the legendary Robert Plant, and opening for him, a Chicago-based group called JC Brooks and the Uptown Sound. Brooks and the Uptown Sound are a funk and R&B group, whose music sounds like the early days. Brooks channels Otis Redding with his vocals and moves onstage. The band had a hit single with a cover of the Wilco song “I Am Trying to Break Your Heart.” The band was able to warm up the crowd so easily, getting them ready for the main act of the night. But the thing that's really enjoyable is watching them have fun while they were performing.

Robert Plant is considered one of the golden voices of rock, being the lead vocalist for Led Zeppelin.. After many years in the business, the man still has it. Thursday night Robert Plant headlined at Ravinia in Highland Park. Together with his Band of Joy, which consists of singer Patti Griffin, singer-guitarist Buddy Miller, multi-instrumentalist and vocalist Darrell Scott, bassist-vocalist Byron House, and drummer-percussionist-vocalist Marco Giovino. Together they sounded great. I was kind of hesitant going into the concert, wondering what Plant was going to be singing. He played a lot of his solo stuff, which to be honest can be kind of boring. It's more roots rock. But as soon as Plant started singing early Led Zeppelin songs, the crowd went crazy!

He started with “Gallow's Pole,” followed by a very unique version of “Black Dog,” harmonizing with Griffin. Then he went into “What is and What Should Never Be.” Plant loved to have fun with the audience throughout the night, making little comments here and there. Other Zeppelin songs that were played include “Rock and Roll” and “Ramble On.” He also played music from his first solo album, Band of Joy, and Mighty ReArranger. Even though the solo stuff was a little slow for me, the man still has the looks, the moves and the voice especially for being in his 60s. By far, one of the coolest experiences to see Robert Plant singing Led Zeppelin. Overall, the concert was alright, but the Zeppelin songs were well worth the wait!