The Paris    Music & Passion    Ultimate Manilow    From Boston to Denver...    Backups/Band    Platinums    Back Home

Paris Las Vegas - February 26, 2011


(View photo gallery here)

CC-4

Be forewarned, this turned out to be a blog instead of a review. Opinionated ramblings ahead! :-)

Barry changed the new medley on us - he took out Ready To Take A Chance Again. It would be too much for me to say that disappointed me - that's too strong - but I do enjoy hearing the song, so I kind of missed it. But, on the other hand, I have to admit that starting it off with Daybreak had a much better feel to it and kept it more in tone with the upbeat version of Could It Be Magic that Barry opens with. And that transition between Somewhere in the Night and Looks Like We Made It - well, he nailed it last night - that was awesome! See? I told you he would turn the medley into a masterpiece.

Okay, okay... So I lied in my last review. It's not ALL about the music... When I wrote those words in the last review, a little voice was saying, "LIAR!" LOL! Seriously, I know it's politically correct (talking fan world politics here) to say that it's all about the music, but, ya know, it really isn't just about that. After thinking about it all day yesterday and last night, I just decided I'm not playing that game. Yes, the music is extremely important - but there's so much more. And it was very evident at this show. If the only thing that had any impact was just beautiful sounds on a CD, there wouldn't be much point in traveling across the country (or world) to see the show in person, would there?

Like I said, this particular show really made it evident that there's more involved than just watching someone sing. I sat in a different spot at this show - first row on the right side. Definitely a different perspective. I liked it - I still prefer dead center, but I appreciate this for a different point of view. Positives are that you still get some of the same effect of front row center, but you don't feel quite so "exposed". Negatives are that the sound isn't quite as good and Barry doesn't play as much to the sides. There are other positives and negatives, too, which I'll address when I talk about different songs in the set list.

The lighting is different when viewed from the sides - it's more like you can see how the lighting effects are actually being created when you're sitting somewhere other than center. I didn't really capture any photos of the effects - not sure the camera could have really recorded what I was seeing anyway. I think it was during Brooklyn Blues when I looked up and saw all these narrow spotlights shining down on Barry from different directions. It was much more pronounced that what you see when you're sitting in the center. That was actually kind of cool. There were also lights at various points during different songs that were blinding - you definitely wouldn't see that from the center - it was only because you were looking right into them. Something else I noticed was that Barry would change colors depending on the lighting. From the center, you can see the different lighting colors reflected in his hair - but from the side, his skin actually changed color at times. It didn't really detract from show - I just remember looking up and thinking, "Wow, Barry just turned green..."

And, as I said, the sound wasn't quite as good. I mentioned last time that I could hear the backups very clearly a couple of times during the show. I could really hear them at this show - and that's not a bad thing. That was kind of neat. But what I did hear that wasn't so great was too much drum during a couple of songs - and I love the drum, so that's saying something for me to comment on there being too much of it. It was literally distracting during one song early on in the show - and then it happened again a little later in the show. Barry's voice, though, was fine throughout the entire show - he could be heard very clearly. I also noticed a major difference in the sound of Brandon's sax - it was much more clear, much brighter sounding in Friday's show. Don't know if that had anything to do with where I was sitting or not.

For that matter, I can't say that most of what I observed (and heard) with the lighting and sound had anything to do with where I was sitting. It might have all been just one time happenings that could have been experienced anywhere in the theater - I dunno... Nothing but observations I made. It was just interesting to sit off to the side, from a geeky point of view - I wouldn't mind sitting there again some day. But I wouldn't want to sit there all the time. I like being right in front of Barry, watching the expressions in his eyes change. I'm spoiled and I freely admit it.

Vocally, Weekend in New England had more feeling at this show than at the previous - and I'm not saying it didn't have feeling the night before, because it did. There was just a little bit more of that "all about the music" thing going on with this performance. But, at the same time, I think the song had less impact than the night before. This was an instance where sitting on the side maybe wasn't quite so great. Obviously, your view of Barry is limited - basically you can only see the top of his head. And the moment that really hit home is at the point during the song where Barry throws his head back and both arms out to the side - if you've seen him perform live more than a couple of times, I'm sure you know what I'm talking about - well, that moment wasn't visible at all. I know he did it. I could see motion, but that's all I could see. And I remember thinking, "darn!" - I love when he does that and was disappointed that I couldn't see it. And I was also quite surprised by the fact that he didn't seem to make any connection at all with the people on the side - even though he was facing our direction, he seemed a million miles away. I know it's sounds like I'm giving a bad review for this song, and I don't mean it that way at all. It was a great performance - just very different from what I'm used to seeing - different enough that it stands out in my mind. I guess I'm saying that the warmth of the song wasn't there - and I can't say exactly why since vocally it was beautiful. Was it the distance? Was the piano blocking it? Don't know - just know it felt very different.



But I think this is an example of why I say it's NOT all about the music. The music was beautiful - Barry's voice was beautiful. But the thing that was missing was the connection - you know, that moment(s) during a show when the music and the lyric are just right, when you see where Barry is "at" in the moment just by looking into his eyes (direct eye contact not necessary, but it enhances the feeling when it's there), and then for a moment in time you're pulled right into that other world with him. Doesn't matter whether it's the longing of Weekend in New England or the pain of Even Now or the anger of Who's Been Sleeping In My Bed - for a moment, Barry takes you there. You can't get that from a CD - you have to be at the show in person - that's my opinion, anyway. A CD can make you feel, but I don't think it can make you believe. At least, I can't get the same effect from listening to a CD. There are some songs where it comes close - where the music alone can generate a similar effect - Keep Each Other Warm and It's All Behind Us Now are the first two that come to mind. But for the most part, it takes being at the show.

A few shows back, I was sitting next to an elderly lady and her husband. They were both very refined and reserved. If someone had told you to identify all the civilians in the audience, she would have been the first one on the list that you picked out. But before the show started, she quietly and almost apologetically said, "I have to warn you - I sing along to the songs." I had to laugh, which I think embarassed her (and which I'm very sorry for) - but she was so far removed from what you would think of as a life-long fan... And yet, that's what she was. She didn't read any of the boards, she didn't belong to any clubs, she didn't associate with other fans, she hadn't even seen that many shows - she thought she had, but in comparison to some fans, nah... Anyway, she had been a fan for Barry's entire career. And she was very proud of the shows that she had been to - the Hollywood Bowl, the Valentine's Day show at the Staples Center, etc... But the point I'm getting to with this incredibly long story is what she said to me shortly before the show actually started. She asked me if I knew of a good way to get tickets up close - and I told her about the fan club - she didn't even know it existed. And she said, "My husband and friends don't understand this - but I just have to sit up close. We go to a lot of theater, but it's just not the same when you're sitting further back. My friends keep telling me that you get a better appreciation for the show if you sit further back, but it's not the same feeling..." And then she seemed kind of embarassed, and said, "Well, it's just different." She seemed very embarassed to admit that she needed more than just a great set design, beautiful lighting, and a good performance. She needed to be able to "feel" (where have we heard that word before?!?).

But that's the point - that connection to the performer is important, at least to some people. And I think it's why we keep coming back over and over again. In Barry's case, it's very strong - it's very powerful - it's intoxifying - it's addicting. It isn't the music, but it compliments the music. If it isn't there, we miss it - granted, it's very rare that it isn't there. This is what he does - this is why he still has the fan base he has after all these years. We can try to take the cerebral approach - we can convince ourselves that it's more dignified, or it's more responsible, or it's more mature to say that it's all about the music. But when we do, I believe we're doing a disservice to Barry's talents as a performer (not as a musician, that's another topic) and to everyone else who is involved in the show in a non-musical way. And we're restricting our own enjoyment. I realize that people who have never experienced it first hand don't "get it" - but I've seen plenty of people who didn't understand until they got a taste - and now they do understand. There's something more here - there's something magical. And it's more than just musical notes.

Enough of that...

New York City Rhythm was another song that was very different being viewed from the side angle. I didn't find the first half of the song nearly as engaging when viewed from the side - that entire dance portion seemed to lose something. But, the instrumental portion was a totally different story. Granted, I could barely see Ron P at all from where I was sitting, but it was great getting to watch Joey's solo. And when everyone joins back at center stage for the end of the song, that looked fantastic. When the guys were doing the "chase around the piano" thing, Joey threw in a few extra notes right at the last second before he left the piano - just enough to grab your attention - love it!

I forgot to mention Brandon's sax solo during Brooklyn Blues - very nice. Friday night's solo especially rocked. There's also a new trumpet player up there - don't know if it's temporary or permanent - and I still haven't managed to catch his name. Oh, and I also forgot to mention Barry's killer note during the song - got a photo of that one from the side.





I also forgot to mention Barry's conducting before Even Now. Still gives me chills to watch it. And speaking of Even Now, it was really beautiful at this show - and not just the power notes at the end. Even the opening lines of the song - Barry's voice sounded almost heavenly. Just beautiful. The killer ending was just as deadly as at the last show. I really like the way Barry stretches his arm out toward the audience - sometimes it seems more directed AT the audience. At this show, it seemed to be directed toward the heavens, almost like a prayer. And I think the fact that I was viewing it from the side made it even more effective. You do lose that sensation of Barry being suspended in a pitch black background. They've never quite accomplished that at the Paris the way they did at the Hilton. But from dead center, it's pretty close. It's not there at all when viewed from the side, but I think it's not really missed because you can see things like the arm stretch more clearly - from the side, you can see that he's really reaching out - it truly does look like he's stretching his arm toward heaven. Reaching toward the sky, the pained expression on his face, the killer note, the way he sometimes puts his hand to his brow or brushes it through his hair - the man is working on that song! And it works for us! And have you ever noticed just how beautiful the set is? The beautiful bluish lighting. And the curtains or drapes or whatever you call them that hang in folds in the background behind the band... Looks fantastic!



The love song segment wasn't quite as effective from the side. Actually, it was mainly the Theme from Love Story that wasn't as effective. And I think that's just because Barry has to stay right in front of that microphone. You can hear the vocals, and they're beautiful. But you can't see the expression on his face - and for that song, his expressions really convey a lot.

The Grandpa segment was great. I had a much clearer view of I Am Your Child and Nature Boy from this angle. Barry's vocals during Nature Boy continue to impress me - he really ought to record that. This One's For You had a different tone tonight. Once in a while Barry performs in a way that conveys resignation - as if he's given up - that's kind of how This One's For You came across at this show. Interesting. But then, I've always thought that it's interesting how the songs are performed differently at different shows. Barry might go for a few shows with one song really not changing much, but then it seems to take on new life. Sometimes the changes are more subtle, as with this particular performance of This One's For You. But it's almost always different from show to show.



Bandstand was a blast to watch from this angle. First, I was sitting right in front of Russ - that was cool to watch the drum solo that close. I'll bet it's just as great on the other side sitting in front of David. And then Kye... I always mention how silly Barry is during that portion of the show, but I never noticed just how silly Kye is. His facial expressions are priceless - and those thick glasses frames just add to it. I found myself watching him instead of Barry during part of the segment. And for the first time, I really noticed the girls' choreography - big, sweeping movements. That's got to be a lot of work. Keely and Melanie and Muffy are all over the stage - I've just never noticed it before - not like that, anyway. And has anyone ever paid attention to the frames suspended from the ceiling during Bandstand? There are a lot of them - and they have videos of various band members dancing - for instance, Steve with his trombone. And the videos are in black and white, which compliments the rest of the set colors. I saw them for the first time at Friday's show - those are neat!

And yes, Barry was still as adorable as ever making fun of all the dances, trying to imitate Kye, and in general just being goofy. Had civilians sitting next to me - they were laughing. Even the husband who had his arms folded throughout most of the show... He was laughing, too.

Mike's guitar during Mandy was great - don't know if that was a function of where I was sitting or not - I mean, I don't know if I heard it more clearly because of where I was in relation to the speakers or if there were just something special about the way it hit me this time. But that note toward the end of Mandy - what do you call it, a break? I've really got to study up on music terminology so I can halfway intelligently express myself on some of these things. Anyway, it's a single note, but what a note - in the studio version, it's strings - but they don't come close to conveying the feeling that the single note from Mike's guitar conveys. I've been listening to him do it for years, and never mentioned it before. But at this show, it hit me so strongly, I just had to close my eyes and flow with it. Now, THAT's all about the music.

Copa was just as much fun viewed from the side as it is from the center. Okay, so your view of that handsome guy in a tux isn't quite as clear - but he still looks pretty good from the side! <insert big grin here> You do get a much better appreciation of the choreography when watching from the side. When Kye first appeared during the second part of the song (after Barry disappears below the stage), I heard someone in the audience yell, "Go, Kye!" Even the backdrops look different from the side - actually, better. (well, to me, anyway) There's an interesting pattern that I've never noticed before from the side. You can see it in this photo I took of Kye when he first appeared on stage - not quite as visible here, but you can really see it in the full size photo.



Center or side, you still hate to see the end of the show. That doesn't seem to change no matter where you're sitting!



The Paris    Music & Passion    Ultimate Manilow    From Boston to Denver...    Backups/Band    Platinums    Back Home

All photos and content Copyright ©Dana Holland