Paris Las Vegas - November 13, 2011

BB-29



This wasn't an extremely emotional show like the first two of the week. Oh, there was emotion. I just didn't sense as much of "that" feeling at this show. Not from us, not from Barry. After the show, yeah... There were folks there for the last time. The mood after the show has been much more subdued lately, more than what it was before the announcement came out. The first song of the after-show music is Everything's Gonna Be Alright. That used to be what they played, and then they got away from it. But it's back now, and it's being played loudly. They follow it up with Copacabana. At one of the shows right after the announcement, they played the slow version of Could It Be Magic, one of the recent versions - MISTAKE! Although I guess it would have been worse if they'd played Somewhere Down the Road.

You know, I would really love to get a shot of that MANILOW in lights sign from the top of the theater - I'll bet it's really pretty, with the lights reflecting off the stage floor. I guess it would be kind of hard to get back down to the seats in the front of the theater before Barry took the stage, though. The image of a zip line just popped into my head. Uhm...no...

Actually, I kind of got the impression that Barry was still working to keep everything upbeat during this show. Could It Be Magic seemed to have been taken up a notch. It seemed much livelier than it normally does - not meaning that it wasn't in the past. Barry just seemed to be putting extra into the song. Of course, he was met with a huge audience response as he took the stage. So maybe we just got him going right from the start. I usually don't notice the opening lines of that song being as expressive as they were tonight. Barry may emphasize certain parts - for instance, the "heaven sent you" part. But tonight Barry gestured toward the audience, with a big smile on his face throughout most of the song. Everything about it was just taken up a notch.

Oh, and just for the record - that little finger wiggle we got at the beginning of CIBM... Now THAT was "woo-hoo-able"! Ha ha!

Daybreak was extremely lighthearted, very upbeat. We got a very cute, silly little dance at one point during the song - never saw him do that before! We got some cute facial expressions, too.

Somewhere in the Night started off kind of romantically, but Barry had that gleam in his eye from the start. Maybe I should adjust that statement a little. Barry's voice was romantic. But, that gleam in his eye, the facial expressions and the body posture were more teasing than romantic. I had a feeling the ending of that song would be one that would stir up the audience. And it did. Here's an example of how seeing the show multiple times can change the way you view it (frankly, I think it enhances the experience - it's impossible to say you're seeing the same show when you can see all of the differences).

Ten years ago I would have never noticed that there's actually a difference in the way Barry unbuttons his jacket for Somewhere in the Night. Yes, I could have told you that he unbuttons the jacket - but not that the "way" he does it actually differs from show to show, and that the "way" is an indicator of the tone of the song. It appeared that Barry planned from the start to get a reaction out of the audience with SITN. Sometimes (most times) when he unbuttons the jacket, it's kind of a casual motion - he'll move into that half-sideways pose and sing the "lovin' so warm" part of the song with varying degrees of sexiness. But this time there was nothing casual about it - he actually tossed that jacket open as he moved into that stance. And then, of course, we got the sexy eyes and the little pout. There was a huge audience reaction, of course.

You know, I never take photos during that portion of the song. I just can't. I think about it - at every show, I think about taking a shot or two. But I can never do it - how silly is that? I'm enjoying hearing and watching the audience reaction, and enjoying watching Barry's reaction, as well. And I don't mean to imply that I'm immune to what he's doing up there on stage - I'm not. I'm uncomfortable taking photos during that part for some reason. That's a classic Manilow pose - but so far I don't have a shot of it.

Lots and lots of sweeping arm motions that took in the entire audience during Looks Like We Made It. There is always such a HUGE cheer from the audience when Barry does that part of the medley. I'm not entirely sure why. Is it because it's that much more of a favorite than his other songs? That doesn't seem to make any sense to me. I just keep coming back to presentation - it must have something to do with the way he's presenting it to the audience - the exaggerated vocals, maybe. The lighting changes drastically - it becomes very, very bright. But the audience is always reacting well before the lighting change. Not sure, haven't been able to figure out why the audience reacts so loudly to the beginning of this song. It's every night - it's not a once-in-a-while kind of thing.

The audience really sang loudly to Can't Smile Without You, from the very beginning. Barry really didn't play around with the lyrics much - but he still seemed to be happy as he was performing the song.

The ballad of the night was Even Now. Barry started off this segment of the show as if he might give us a different song tonight. But then he said, "Oh, ok - you're playing A" - and my mind jumped straight to Even Now. Barry has been doing that lately - he's been specifying a musical note to indicate which song he's going to perform. That said, Barry might have said A♭ instead of A - because one of those is for Even Now and one is for I Made It Through the Rain. I heard him say both notes this week - right now I'm getting a little mixed up about which was which. But I think "A" is for Even Now - that sounds right - I mean, hearing it in my head, that kind of sounds right.

At any rate, it was a beautiful rendition of Even Now. I really botched the photos - I only lifted the camera once, and didn't get it in focus. Would have been some great shots, too. Barry's facial expressions said so much. The song was emotional without being emotional, if you know what I mean. Barry was very expressive, you could "feel" the song. But it stopped short of being enough to alter the overall tone of the show. Sometimes Barry really can "rip your heart out" with that song. He didn't dive that deeply into it tonight. It was a fabulous, riveting performance. He did a great job of connecting. The ending was fabulous - he held that long note forever. Barry surprised me tonight - I thought this was going to be one of those nights where he reached for the sky instead of the audience, because that's what he started out doing. And that's what he kept on doing as he continued to hold that long note - but then he suddenly switched, and stretched his arm out toward us.

Brooklyn Blues had a different tone tonight. This is not a typical Brooklyn Blues facial expression for Barry. I guess I would call the tone of the song more "serious" than it normally is. The groove was there and Barry performed the lyrics in his "story-telling" style that seems to connect with the audience so well. But this part of the song ("love songs to a princess") is usually much more lighthearted. Regardless, Barry nailed the long note at the end again. Showing off!

I didn't find I Am Your Child as sad tonight. It's hard to say that Barry might have changed the performance, because if he did it was such a small change that I can't identify it. But yet it felt different. Maybe it was just a difference in mental state on my part. Don't know, can't put my finger on it. All I can say is that I wasn't getting that sad feeling this time. It was touching - I could feel that.

Nature Boy seemed to be a little on the upbeat side. Barry wasn't actually playing around with it so much during the opening - we got a couple of really cute smiles, but nothing silly like he used to do. When he actually started singing, he just seemed to be "happy" as he sang the song. I found myself really listening to the notes of the song. I think that's his fault - I think the way he used to mini-conduct as baby Barry was singing brought the ranges to my attention - and now I'm intrigued by them.

This One's For You was wonderful again. Barry connected with the audience very well - definitely made us feel as if he were singing the song to us. I didn't feel the same emotion in the song that seems to have been there for the past couple of weeks - well, not "that" emotion. As with the other songs of the night, this performance had a lighter feel to it. There was plenty of "feeling" - I just didn't walk away feeling down this time - in fact, I walked away feeling pretty darn good. And, as with I Am Your Child, it could be my mental state as much as a difference in the performance. For all we know, Barry may look out at us looking sad and that makes him sad. Probably not... But, hey - it's a good tool to use for attitude adjustment!

At some point during the show, I became aware of something for the first time - don't think it's new - just think I've never noticed it before. And, of course, can I tell you exactly where it was in the show?? No!! But I think it was at the end of This One's For You - just don't hold me to that. This time it wasn't musical instruments I was hearing - it was vocals. During Even Now, the backups walk back out onto the stage toward the end of the song to provide backing vocals. They do it very quietly and unless you're paying attention, you might not even notice. Well, in this instance, I didn't notice anyone walking back out onto the stage. And this is why I think the song must have been TOFY, because Barry had my full attention - I wasn't willing to take my eyes off him to look around. At any rate, I heard beautiful backing vocals - I've never noticed them before. Very pretty - the music and the vocals complimented what Barry was doing so well.

New York City Rhythm is always upbeat - well, 99.999% of the time, anyway. Tonight was no different. I'm not sure which part of this segment of the show is my favorite. I love the choreography when Barry first comes out on stage. And I love when he does his piano solo - he's always so cute when he does the solo. And I love the solos by the keyboard guys. And I love when Barry flashes us with his jacket lining. And I love the chase around the piano. And I love the even cuter pose that Barry does at the end of the song. I guess that means I just love the entire segment!

Ooh, new piano playing at the beginning of Love Is Here To Stay. Actually, the piano (keyboard??) I heard was while those images are being displayed - you know, the ones we never look at because we're busy trying to see Barry walk back on stage? This music was VERY noticeable - deep, low notes - well, chords... Er...intervals... Uhm...whatever... (it wasn't just single notes!) Perfect 4ths, and major 3rds, and diminished and augmented and... Sheesh, after taking this music class, I'll never hear music the same way again. But don't ask me what they (whoever, I don't know who was playing it) were actually playing - because like everyone else, my attention span is directly related to the proximity of Mr Manilow. You know, I occasionally see posts on fan boards where people say that Barry would make a great music teacher and how much we would all love to take lessons from him. Hmmmm... I'm not so sure... I think we would all flunk class. He would walk in the room and we would all be saying, "What piano??"

At any rate, I enjoyed hearing that little extra bit of music. There was also a little more, something different played just as Barry walked out onto the stage. Something I've never been able to figure out is how to tell who is playing what - whether it's Ron P, or Ron W or Joey. I don't even know if it's possible to tell. At this point, I'm probably never going to know.

And then Barry walked out on stage, and he was all that mattered... Love Is Here To Stay was wonderful again. The change in the way he delivered the lyrics wasn't as pronounced as it was on Saturday night, but the effect was the same. It was very romantic - and very sweet - tonight's performance was sweet. And Barry did stroll across the stage tonight - I noticed this time. I remembered to try to get a shot of that expression on his face as he turns toward the paintings - kind of blurry, but this is pretty much it. Just plain cute...

My camera messed up just as 15 Minutes was starting. I could have fixed it, but not without missing some of the song. And no way that was going to happen. So, there are no photos from 15 Minutes or Bring On Tomorrow. Not about to waste a second of those songs...

When Barry sang "just gimme my shot" during 15 Minutes, I didn't need a camera to record that moment. I'll never forget the intensity - never forget the look in his eyes. Can't share it with you, of course. You'll just have to take my word for how great it was. He did a fantastic job on that song. I love the way the song has taken on a conversational air. Well, I think "conversational" might be too mild. It doesn't sound like conversation, it sounds like "telling it like it is". What I'm getting at is that Barry is using the same performance style that he uses with Brooklyn Blues - he's telling us a story. He connects with the audience and makes you feel as if he's speaking directly to you. Of course, in this case, it's a pretty intense feeling - the subject matter of this song is deeper. Hmm... I don't think "deeper" is the right word, but I can't seem to find a better term at the moment. "Darker" isn't the right word, either. Well, whatever... You get a different sensation with this song.

And Bring On Tomorrow was beautiful. I was really caught up in the "big ballad" portion of it. Come to think of it, I was caught up in it before that point. I remember closing my eyes and taking a deep breath even while Barry was still at the piano - it just felt like something I wanted to savor. It does feel as if something has changed with the lighting - the colors for the last third of the song just don't seem as vivid as they once were. It's very, very bright. The sound is just as intense as it always was. And Barry's performance is just as big. The tone of the song differs a little each night. Barry brings different aspects, different interpretations to the song - you might even say different points of view. At least to me, tiny little changes can make such a big difference in how the song comes across. One spot I don't normally mention is the first "you are the one" - I've seen Barry deliver those lines in several different ways. I remember the very first time I ever saw it, the first time he ever performed it in Vegas - the way he delivered that line was so romantic, it came across as so heartfelt. There are times when it's delivered more tenderly than romantically. There are other times it doesn't seem quite so special. Same thing with the "they told us we're crazy" line - Barry brings different attitudes to it. And the "without you it's nothing" line. Sometimes it feels like just another line in the song, but other times Barry sings it with such depth of feeling that it can make you catch your breath.

While David and Russ played their drum solos that are the intro to the American Bandstand segment, I got the camera fixed - apologies to them for not giving my undivided attention - but it was either that or not take any photos for the rest of the show. And if I didn't get at least one good tux photo, I knew I would be in trouble!

Speaking of bright lights, there was one spot during American Bandstand that was so bright it hurt my eyes. Completely washed out the colors in the photos. I don't think it's always been like that, has it? Maybe so. It was during the part where Barry does the twist. And it was even during the part where Barry waves goodbye with all of the backups surrounding him. I know the light couldn't have always been so bright during that part of the segment because I have too many good photos of that. Not this time!

Barry was very cute during the dances tonight. He's begun doing little hip bumps in time with the drum beats during one portion of the segment.

Mandy/Could It Be Magic was excellent tonight. Both parts of the song had a ton of feeling, tons of emotion. Even before Barry started singing, when he first appeared on stage, the look on his face portrayed emotion. It was kind of sad, it fit in with the lyrics perfectly. Then when Barry started singing, the degree of emotion started to build. I didn't even try to take a photo during "the pain is calling" because I just wanted to watch it. And then as Barry moved into CIBM, the emotion continued to build. I think I may have to eat my words about the difference between emotion and passion - because tonight I think Barry managed to merge the two. Really excellent performance.

Barry didn't talk to the backups at all tonight during I Write the Songs - maybe because he was "talking" to us. He really did work at connecting with the audience. When he sang, "I've got my own place in your soul", I was sitting there thinking how he really does. Yeah, the spirit of music does - but so does the person who interprets it for us.

Kye was seriously upset about Lola losing her love! It's okay, Kye - she gets him back right after the show. (well, until Rico kills him off again at the next show)

I honestly never notice these green lights in the background during Copa, but I just love them. Of course, I think quite highly of the guy standing in front of them doing "his step", too.

Oh, I totally forgot something funny that Barry did on Saturday night during the final bows as he stood there with the backups. I'll have to go back and add it to Saturday's review later. But for now... Typically, they (Barry and the backups) all hold hands and take a big bow, then all turn to walk toward the back of the stage. On Saturday night, Barry decided to do something different - he kept bowing, over and over and over. It was very funny for those of us who have seen the show often enough to know that wasn't normal.

I really like this shot from the end of It's A Miracle. Again, this isn't Barry's typical expression for this song. But it really does look like he's sincerely saying, "my friends, it's you". But, no... Barry it's you - always has been, always will be. Someone asked me what I was going to do when the Vegas shows were over - if I was going to follow someone else. What?!? There ISN'T anyone else!

I totally botched the final shots of the show. (so, maybe I really was a little emotional after all) But what the heck? I'm going to post it anyway - because even though it's really fuzzy, that's one cute guy with one adorable grin standing in front of all those stars. As the curtain went down, Barry blew us all a HUGE kiss.

I had been debating about coming back for the shows on Nov 18-20, but convinced myself that I just didn't need to spend the money - especially if I'm going to try to do Chicago/RCMH. But... Emotional buying... I had a discussion with another fan before Saturday night's show about "emotional buying" - where we buy tickets for shows we would normally never consider, either because we think there's something special about the show, or we're afraid it will be the last time we'll see Barry, or any other reason that is based purely on emotion. You know, Radio City Music Hall... That's special just because of where it's at, right? And Chicago - Feb 2 is actually an anniversary of sorts for me in the Manilow world - so that makes it very special. Would I ever normally consider going to NYC and/or Chicago in February?? NO!!!!!! "Emotional buying."

And then I had another discussion with another fan tonight about how we sometimes see things as "signs" that we're supposed to go to a certain show - probably related to "emotional buying". So, even though I had decided I wasn't going, something made me look at Ticketmaster last weekend. And there was a 3rd row ticket. That ticket has been there for weeks - I saw it back when I considering coming for the entire weekend. And now that ticket has been taunting me, begging me to buy it all week. So I caved this morning and bought it. CRAZY! But I did it. But that lone ticket stayed there all this time - even though other tickets were rapidly disappearing, that one stayed there. So, it was a sign, right?? I'm supposed to go??

All you have to do is convince yourself - the rest of the world doesn't matter. (at least not if you can learn how to tune them out)

So, assuming I get the okay from the doctor (really messed up my ear on this last flight home), I'm coming to one show this weekend. I have a feeling this will be a wild weekend. I'll write a review, but not planning to take my camera with me this time.

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