Dave Navarro and Perry Farrell of Jane's Addiction perform at the Fillmore. (Andrew Nathanson / gatorproduction.com)

L.A. Sunset Strip. Jane’s Addiction brought the pomp and circumstance, shred and tear, and wail and scream to blow out the Fillmore Miami Beach. Led by Lollapalooza engineer Perry Farrell, with riffmeister Dave Navarro, the duo and band blasted through a set driving fans to shout and sing throughout. After show superlatives spouted by audience members ranged from “Amazing,” “The BEST,” and “Wow!” They were all absolutely appropriate.

Permeating the zeitgeist sound of Jane’s Addiction, seeming to always be ahead of their time relative to current music trends at all dates, Farrell and company designed a show with as much edge as their music. Before the show started, a bevy of attractive women were led, what appeared to be happily the way they projected to the audience, across the stage shackled together by a vaudeville-attired barker. It was a pre-show statement the audience was in for a show – the timid need not apply.

With the volume of energy projected, enough to drive a serious mosh pit up front in the general admission show, the fans’ hands were in air, fists pumping throughout. Up front people reached out to try to touch the consummate front man Farrell – or at least absorb some of his energy.

Photos: Jane’s Addiction at the Fillmore | Visit Andrew Nathanson’s website

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Tom Petty performs with the Heartbreakers at Germain Arena in Estero. (Andrew Nathanson / gatorproduction.com)

ESTERO — A scant two days after playing to over 50,000 at New Orleans Jazzfest, Florida’s golden child Tom Petty and his Heartbreakers took a the trip to Estero and cooked up a first-rate show for his birth state. Mixing hits, blues, acoustic, and even some headbanging as he described it, the show had the feel of a hometown barbecue at the Florida Everblades’ Germain Arena, a few hours from the band’s Gainesville hometown.

The show was a polished gem in a medium arena of about 8,000, packed to the rafters full of screaming fans. It was big enough to provide the proper adulation for a star and band on stratospheric par with a Dylan and Springsteen, and small enough for a cozy ambiance. Mr. Petty might not be the pure poet like Dylan but his songs create visceral images as well as anyone out there.

Whereas many from the New York / New Jersey area will argue otherwise, Petty and the Heartbreakers’ shows are stronger than Springsteen’s and with superior talent — with the exception of the former Palm Beach resident Clarence “Big Man” Clemons (may he rest in peace). The Heartbreakers spread their wings wider for their frontman, who both culls the talent and delves deeper into their capability.

Photos: Tom Petty and the Heartbreakers in Estero | Visit Andrew Nathanson’s website

Opening with “Listen to Her Heart,” Petty immediately gave the fans what they expected, quality art in an enduring song. Quickly he hit “I Won’t Back Down” and “Here Comes My Girl” off the breakout LP Damn the Torpedoes. Then they went into the Traveling Wilburys’ plum “Handle With Care”, done expertly. Originally recorded with George Harrison, Jeff Lynne, Roy Orbison, and Bob Dylan, the band did a fine job of honoring the original lineup. Petty covered Harrison’s vocals sweetly and with all due respect, the same respect Heartbreaker Scott Thurston paid to the memory and superior vocal talents of Orbison, no small feat.
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Randy Bachman and Fred Turner perform at Hard Rock Live. (Andrew Nathanson / gatorproduction.com)

Declaring, “This is the Hard Rock and we’re giving you hard rock,” Randy Bachman made it clear Bachman-Turner were delivering the musical goods. In addition to the expected straightforward 4/4-time rock and roll the crowd came to hear, they also served up jam-band style fare, psychedelic, and even some jazz infused flavors at Hard Rock Live, the venue at Hollywood’s Hard Rock Casino.

Opening with “Roll On Down The Highway,” Randy Bachman on a flame top Les Paul guitar and Fred Turner on a tough man’s 6-string bass let the crowd know they were there to give them what they wanted. The central figures of Bachman-Turner Overdrive, the hit machine of the 1970’s who don’t currently use the BTO moniker, skipped the barcolounger in favor of giving a “Lesson on where heavy metal came from,” as one gentleman up front said.

To prove it they rolled through “Rock is My Life” and “Not Fragile,” as compared to Yes’ “Fragile” of the era. Showing they are more than a one-trick pony, in “Looking Out For #1” they included an extended guitar jam which would garner respect from the Dead/Phish crowd, some jazzy chording, and quality Wah peddle that is favored by many a guitarist since the mid-1960’s.

Photos: Bachman Turner at the Hard Rock | Visit Andrew Nathanson’s website

It was clear Mr. Bachman’s voice is still good to go and his chops were clean and crisp. He moved comfortably between slow bends on a note or a few at a time to runs all over the neck with appropriate timing at the high registers of his axe. He made it sing and scream. His compatriot in arms, Mr. Turner was quick, precise, and forceful on his midnight-blue beast bass while vigorously belting out the refrain from “Four Wheel Drive.”
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Elvis Costello and the Imposters perform next to the Spectacular Spinning Songbook wheel. (Andrew Nathanson / gatorproduction.com)

It’s a casino: Spin to win! The main course: Elvis in the house.

Recreating the Spectacular Spinning Songbook, Elvis Costello and the Imposters broke out the big wheel along with an on-stage Society Lounge, contemporary Go-Go cage, a fair-like sledgehammer and bell, and a red “Requests” light at center stage.

Mixing it up with equal parts singer-songwriter, punk, Vaudeville, and showman, Costello and his Imposters counterparts whipped up entertainment for all to not only enjoy, but also participate. Opening with “Pump It Up,” he let the audience know they were in for a ride this night at Hard Rock Live at Hollywood’s Seminole Hard Rock Casino.

Photos: Elvis Costello and the Imposters | Visit Andrew Nathanson’s website

Early on a couple came on stage and gave the wheel a whirl and up came “Chelsea” as in “I Don’t Want to Go to Chelsea.” The giant wheel, a recreation from the plans of the original 1986 wheel, since donated to the Hartlepool Museum of Showbusiness Machinery according to Costello’s website, insures a unique show every night. Later spins by others garnered playing of “Peace, Love, and Understanding” and “The Joker.” Eat your heart out Pat Sajak.
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Blondie brought the bombast to the Hollywood Hard Rock, keeping the spirit of CBGB alive in 2012. Giving the enthusiastic audience a good dose of hits, interspersed with a handful of songs off their latest release, Panic of Girls, while mixing in some of their grittier fare, Deborah Harry owned the mic and the show. Not to be outdone, the entire group executed solidly in creating a wall of sound encompassing a broad spectrum including punk, new wave, reggae, disco, and some of the earliest rap recorded.

Opening with an evolved Blondie sound in “Mother” from their new album, this hybrid sound may be described as neo new wave disco. Quickly the band built the show to what amounted to a climactic peak as the show closed.

By the third song, “Dreaming,” the entire band demonstrated the ferocity for which CBGB is known throughout the music world. With early Blondie drummer Clem Burke hammering away and fierce guitar work, including the staple of playing behind the lead by Tommy Kessler, very quickly they let it be known Blondie is back in full force.

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The band lightened it up a bit with “Atomic” but then came back with new release “D-Day” with Burke riding the big tom. Creating a fat, double-time punk feel, Harry emphatically exclaimed, “The day Dr. No said, ‘Yes,’” original guitarist Chris Stein’s axe screamed in harmony.
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'Toots' Hibbert leads his band, Toots and the Maytals, at the Icons of Reggae show. (Andrew Nathanson / GatorProduction.com)

Jamaica did for reggae what New Orleans did for jazz. No less than Led Zeppelin, The Rolling Stones, Eric Clapton, and Tom Petty infused their own recordings with the hypnotic rhythm and melody from the island paradise. At the Icons of Reggae show on Saturday, Toots and the Maytals, the artists with the most No. 1 hits in Jamaica (31), were honored with a proclamation presented by Broward Commissioner Dale Holness.

 
Parallel to the 50th Anniversary of Jamaica’s independence, Toots too celebrates his 50th anniversary of recording. Icons appearing throughout the first annual festival were UB40’s frontman Ali Campbell, and Black Uhuru founding member Mykal “Grammy” Rose. Taking the stage throughout the day were U-Roy, Wailing Souls, John Holt, Etana, Ambelique, Lady Saw, Mical Rustle and Glamour Wayne. 

Photos: Icons of Reggae at Central Broward Regional Park | Visit Andrew Nathanson’s website

 
Playing out at Central Broward Regional Park, a sizeable crowd took in a solid line-up of quality music from legitimate recording stars of reggae. Toots and the Maytals, fronted by Frederick “Toots” Hibbert, are tagged as the originators of the genre’s moniker, when they came out with “Do the Reggay”, which they group played. Hibbert and the band hit “Pomp and Pride” (“Everybody just cryin’, don’t cry, no, come down, come down, come down, have your pomps and pride”). The crowd danced and added vocals to “Sweet and Dandy” (which is really “Hetty in a Room a Cry”, stated an audience member who knew all the words).
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Frankie Valli with two of his backing singers at Friday's show at Hard Rock Live. (Andrew Nathanson / GatorProduction.com)

With South Florida the unofficial “Sixth Borough” and New Jersey just across the river from the other five, Frankie Valli doing back-to-back shows at the Hard Rock in Hollywood might be expected. What one might not expect from him would be a rock show on his 50th Anniversary tour. At full concert volume, Valli did a ‘Greatest Hits’ show to the delight of the fans present.

Introduced by veteran Philadelphia Deejay Jerry Blavat, Valli put forth one hit after another in what Blavat described as a celebration of New Jersey. He continued that the only artists still present from the British Invasion days are The Beach Boys, Motown, and The Four Seasons – a testament to Mr. Valli’s fortitude and the quality of his catalog.

After opening with “The Night” and “Dawn,” Valli quickly delved into his best known works with “Workin’ My Way Back to You,” to much appreciation from the audience. His voice sounded surprisingly strong for someone who’s used his vocal chords for 50 years. It cut through crisply even with four backup singers, in perfect harmony, and an 11-piece band behind him. His trademark higher register and falsetto resonated as if he were half his biological age – impressive.

Photos: Frankie Valli at Hard Rock Live | Visit Andrew Nathanson’s website

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Vinnie Moore and Phil Mogg of UFO perform at Revolution Live in Fort Lauderdale. (Andrew Nathanson / GatorProduction.com)

You’d have better odds of spotting a UFO — after seeing a skunk ape in the Everglades, setting up camp, and staring up into the night sky — than catching the legendary British metal group, who rarely venture to U.S. shores these days. On Friday night, that band landed with full-on bombast at Revolution in Fort Lauderdale.

With the band producing clear, crisp sound, the audience’s heads bobbed in unison and arms pumped toward the sky. UFO belted out one fan favorite after another. Though they never achieved mass acceptance in the U.S., this band from the motherland is one of the core groups that rode the end of the British Invasion wave and played a huge role in creating and defining heavy metal.

They rolled through their best-known tunes to the audience’s delight. They opened with “Mother Mary” and a couple songs later “Let it Roll” from their Force It album from the heart of their more successful “Chrysalis Years” of 1973-1979. With Revolution comfortably full, the crowd response was boisterous throughout the show in response to the double bass driven drums, screaming guitar, and gritty vocals.

Photos: UFO at Revolution Live | Visit Andrew Nathanson’s website

Sporting grey suspenders over black on black wardrobe and Doc Martens-like boots, legendary frontman Phil Mogg ran the show as a man possessed. His voice cut through as noted by several fans. One attending said he saw UFO 32 years prior and Mogg’s voice never sounded better.
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Jeff Dunham and his curmudgeonly character Walter perform at the BankAtlantic Center. (Andrew Nathanson / GatorProduction.com)

Anyone over age 12 making funny voices with puppets might merit a comfortable room nicely appointed with padded walls. If you are Jeff Dunham, however, you end up headlining arenas, starring in television specials, and one of your characters becomes an unofficial mascot of the military. Smartly, this ventriloquist weaved symbolic commentary on racism throughout the show in comedic fashion, and blatantly stated it is wrong even as he mocked many stereotypes.

To a mostly full house at the Florida Panthers’ arena, the BankAtlantic Center, Dunham owned the audience to their collective delight this night. Dunham took the stage with a 20-minute monologue and supporting photos projected on the circular screen. He started with his home life and talked about making puppets at a young age. Dunham presented shots from his yearbooks starting in seventh grade – a way to get a professional photo each year. In ninth grade he noted braces as ironic for a guy who makes a living with his mouth closed stating, “What’s the point!”

Photos: Jeff Dunham at the BankAtlantic Center | Visit Andrew Nathanson’s website

To show his “normal” upbringing he presented a photo of his parents as Batman and Robin as they were headed to a party he thought. Or maybe they stayed home and sent him to bed early that night. The laughs allowed him tell the audience they were a sick crowd.
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Blue Oyster Cult's Donald 'Buck Dharma' Roeser and Rudy Sarzo perform at the Pavilion at Seminole Casino at Coconut Creek. (Andrew Nathanson / Gatorproduction.com)

More Cowbell! 

For those listening closely, the cue-in to Blue Öyster Cult’s show at the Pavilion at the Seminole Casino at Coconut Creek was refrains of the famous catchphrase from the Saturday Night Live sketch about the group. It spoke to a quality band who appreciates a good joke and isn’t afraid of a little self-deprecation. BOC itself is no joke, however — it’s a seminal hard rock group influencing loads of others.

Opening with the vintage album track “The Red and the Black” from back in ’73, Blue Oyster Cult helped break in the new venue in Coconut Creek.

Photos: Blue Öyster Cult at the Seminole Casino Coconut Creek | Visit Andrew Nathanson’s website

The group next went with “The Golden Age of Leather” with appropriate toasting lyrics: “Raise your can of beer on high, and seal your fate forever, our best years have passed us by, the golden age of leather.”

While some in the audience appeared to fit the toast, BOC still brings the spiked punch to the party. To make sure the crowd knew it was a hot soiree, they kicked out “Burning for You.” Though Donald “Buck Dharma” Roeser played a guitar looking liked Swiss cheese, the music was not cheesy.
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