MacMan
06-15-2005, 08:06 AM
Henley, Nicks performances revive hits, affirm renown
CONCERT REVIEW
Wednesday, June 15, 2005
BY BARRY FOX
Of The Patriot-News
Don Henley and Stevie Nicks, two of rock's heavyweights, on the same double bill is an intriguing idea.
In reality, it's two stars past their primes who can still put on a decent show.
At times inspired, at others sounding tired, the dynamic duo came to Hershey's Giant Center Monday night.
Henley, the Eagles' drummer, led off the festivities with the foreboding sounding "The Genie."
Jangling a tambourine, he picked up with the pace with his old band's "Witchy Woman," matching any version the Eagles could produce, and sounded in fine voice, which was tested on the song's falsetto parts.
On the line "there she stood in the doorway" from the classic "Hotel California," Nicks emerged from the shadows for a trio of duets that included Henley's solo hits "New York Minute" and "Last Worthless Evening."
Nicks' voice seemed to fill the arena, and her more energetic persona added badly need animation to the stoic Henley.
There is no banter from the Texan, just the sporadic "thank you" through an hour-plus greatest hits set.
His voice sounded raspy but serviceable on "The Heart of the Matter."
His stellar band gave real punch to "Dirty Laundry," "Life in the Fast Lane" and "All She Wants To Do Is Dance."
Henley used a nice, delicate touch on The Eagles' "Desperado" and played to the crowd, letting them sing back the line, "you better let somebody love you" before stepping aside for Nicks.
With a more elaborate stage set, a larger band and back-up singers, Nicks, using a microphone draped with beads and scarves, opened her uneven set with Fleetwood Mac's "Dreams."
A nice acoustic intro to "Rhiannon" slid into a strange, high-pitched, train-whistlelike refrain, and then Henley was back to assist on Fleetwood Mac's "Gold Dust Woman."
He took Tom Petty's part on "Stop Draggin' My Heart Around," but Henley's voice is not as distinctive as Petty's, making their take more lackluster than the original.
Henley exited after their rendition of Bonnie Raitt's "The Circle Dance," and Nicks seemed to leave the stage after every other song for a subtle wardrobe change -- flowing skirts of different hues and capes of varying colors, perfect for her signature whirling dance move.
When she was center stage, "Stand Back" was followed by Nicks providing the soundtrack for a "Beauty and the Beast" film.
"Edge of Seventeen" closed out the set, and Nicks ended the night shaking hands with fans in the front row and kissing a young girl on the head.
In total, it was a three-hour show that had its moments, just not enough of them.
pennlive.com
CONCERT REVIEW
Wednesday, June 15, 2005
BY BARRY FOX
Of The Patriot-News
Don Henley and Stevie Nicks, two of rock's heavyweights, on the same double bill is an intriguing idea.
In reality, it's two stars past their primes who can still put on a decent show.
At times inspired, at others sounding tired, the dynamic duo came to Hershey's Giant Center Monday night.
Henley, the Eagles' drummer, led off the festivities with the foreboding sounding "The Genie."
Jangling a tambourine, he picked up with the pace with his old band's "Witchy Woman," matching any version the Eagles could produce, and sounded in fine voice, which was tested on the song's falsetto parts.
On the line "there she stood in the doorway" from the classic "Hotel California," Nicks emerged from the shadows for a trio of duets that included Henley's solo hits "New York Minute" and "Last Worthless Evening."
Nicks' voice seemed to fill the arena, and her more energetic persona added badly need animation to the stoic Henley.
There is no banter from the Texan, just the sporadic "thank you" through an hour-plus greatest hits set.
His voice sounded raspy but serviceable on "The Heart of the Matter."
His stellar band gave real punch to "Dirty Laundry," "Life in the Fast Lane" and "All She Wants To Do Is Dance."
Henley used a nice, delicate touch on The Eagles' "Desperado" and played to the crowd, letting them sing back the line, "you better let somebody love you" before stepping aside for Nicks.
With a more elaborate stage set, a larger band and back-up singers, Nicks, using a microphone draped with beads and scarves, opened her uneven set with Fleetwood Mac's "Dreams."
A nice acoustic intro to "Rhiannon" slid into a strange, high-pitched, train-whistlelike refrain, and then Henley was back to assist on Fleetwood Mac's "Gold Dust Woman."
He took Tom Petty's part on "Stop Draggin' My Heart Around," but Henley's voice is not as distinctive as Petty's, making their take more lackluster than the original.
Henley exited after their rendition of Bonnie Raitt's "The Circle Dance," and Nicks seemed to leave the stage after every other song for a subtle wardrobe change -- flowing skirts of different hues and capes of varying colors, perfect for her signature whirling dance move.
When she was center stage, "Stand Back" was followed by Nicks providing the soundtrack for a "Beauty and the Beast" film.
"Edge of Seventeen" closed out the set, and Nicks ended the night shaking hands with fans in the front row and kissing a young girl on the head.
In total, it was a three-hour show that had its moments, just not enough of them.
pennlive.com