Overland Park, KS - Nov 4th

[elle]

Originally Posted by HelloMonster

Well, I do love that man.

The audience was seated, but appreciative. You could tell he was in pain, as he kept looking at his fingers. He never mentioned actually having a blister though! There were some technical difficulties between ISA and GYOW, his effects pedal had powered down and a stagehand had to reboot it. My untrained ear didn't hear much of a difference however. The m&g was amazing, but he did seem to want to get out of there since I'm seeing him in STL on Friday I asked him to play Crystal for my birthday, and he (jokingly) said he would try to fit that in. What a kind and funny guy!

nice! wouldn't that be something - hope he really does something different!

were people up for GYOW and encores? it kinda looked like that in one of the pics tweeted during encores...

[HelloMonster]

There were like 6 people on the side of the stage dancing for GYOW, and the encore of course. but it was a totally different experience from when I saw him in Council Bluffs. A lot less crowd-Lindsey interaction and the overall vibe wasn't as energetic. Still amazing though!!

[michelej1]

Originally Posted by HelloMonster

since I'm seeing him in STL on Friday I asked him to play Crystal for my birthday, and he (jokingly) said he would try to fit that in. What a kind and funny guy!

Oh Crystal. That's an original request. So, glad that you enjoyed the meet and greet.

Michele

[jetta07]

Originally Posted by HelloMonster

Well, I do love that man.

The audience was seated, but appreciative. You could tell he was in pain, as he kept looking at his fingers. He never mentioned actually having a blister though! There were some technical difficulties between ISA and GYOW, his effects pedal had powered down and a stagehand had to reboot it. My untrained ear didn't hear much of a difference however. The m&g was amazing, but he did seem to want to get out of there since I'm seeing him in STL on Friday I asked him to play Crystal for my birthday, and he (jokingly) said he would try to fit that in. What a kind and funny guy!

Aw, sounds like you had a really good m&g. I hope you get your request-that would really be something I thought the show was fantastic, even though it wasn't changed up much from the past solo shows (wasn't expecting it to be.) This venue was a lot more formal than others I've been to. I rushed to the bathroom right after Stephanie and unfortunately had to listed to Come through the closed doors because they would only let people in between songs. I preferred the show at Council Bluffs for the audience participation and interaction, though it has been interesting seeing him play in a variety of settings. He really did put on a great show and I heard several people on the way out gushing about how he blew them away. I got several pics I can post tomorrow after work.
I'm curious if anyone got video-I thought I saw someone recording during the ISA guitar solo and SWS.

[ryan4136]

Setlist the same as the other legs?

[elle]

Originally Posted by ryan4136

Setlist the same as the other legs?

same setlist.


some nice photos and a video from yesterday here:

http://nickslive.blogspot.com/2012/1...t-yardley.html
Monday, November 05, 2012
"Trouble" at Yardley
Lindsey Buckingham Live
Yardley Hall - Johnson County Community College
Overland Park, KS - November 4, 2012

[redtulip]

Lindsey Buckingham and a surprisingly riled up crowd, last night at Yardley Hall
Posted by David Hudnall on Mon, Nov 5, 2012 at 11:45 AM
http://www.pitch.com/wayward/archive...t-yardley-hall

Yardley Hall, at Johnson County Community College, is a nice, big, dignified venue — somewhere between a high school theater and an opera house. If you are an important or otherwise lucky person, there are special boxes along the sides up top from which you can watch the show, possibly through tiny binoculars. This year's concert series includes Capitol Steps, Canada's Royal Winnipeg Ballet, and Garrison Keillor, among others. It is not the type of venue where people wave lighters in the air and chief surreptitious bowls in the corner.
But last night at Yardley, the baby boomers in the house simply could not contain themselves. You'd have thought Grover Norquist was in town for a paid speaking engagement. But no: the buzz was all for Lindsey Buckingham, former guitarist and vocalist for Fleetwood Mac.

I can't find a video online of that Chappelle's Show sketch about white people loving guitar solos, but if you've seen that, you pretty much understand the vibe last night. Buckingham is an amazing guitar player, and his 70-minute set was as much a clinic as it was a performance. He took the stage in a leather jacket and form-fitting jeans, looking at least a decade younger than his 63 years. After each song, he would tilt up his guitar and clutch it to his heart, as though it were a child, and bask in the wild applause. Then a tech would cross the stage and hand Buckingham a new guitar. I'm pretty sure he never used the same guitar on consecutive songs.

Buckingham's guitar choices have always been eccentric. He uses a lot of Turner guitars, and he seems to like guitars that are oddly small, and that sometimes don't have sound holes. For this reason, it is sometimes hard to tell whether he is playing an acoustic guitar or electric guitar. Last night, his guitars filled the room with a wide range of sounds. He can do everything: gentle, precise fingerpicking; wild, bombastic acoustic strums; even metal-ish guitar solos (seriously — he was shredding on "I'm So Afraid").

There are advantages and limitations to what Buckingham last night called "the small machine." Fleetwood Mac is the "big machine"; his solo performances are the "small machine." It's just Buckingham and his voice (plus occasional, tasteful drum and vocal backing tracks) up there, so he has devised ways of holding the audience's attention. Though he's soft-spoken and humble-seeming, he also has a flair for the dramatic. On "Not Too Late," he let the last note ring out for many seconds, its metallic ping echoing out and amplifying the room's reverent silence. Later, before launching into a guitar solo, he screamed "Dig it!" into the microphone. A few times, he closed songs by hopping gingerly and landing with a quiet, careful thud — part Eddie Van Halen theatrics, part something he might have picked up in a physical therapy session.

As the evening progressed, standing ovations became part of the routine. Around song four, it was just a smattering of excited adults up front. Forty-five minutes into the set, most of the room rose to hoot and holler after each song. By the time Buckingham got around to "Go Your Own Way," some people stood up and actually danced during the song. Up front, on stage left, a guy shaped like a Far Side character did the goofiest dance I have ever seen in my life. I mean, these people were loving life.

Buckingham encored with "Trouble," which is one of my favorite songs maybe ever. He played it gracefully and acoustically, and he shaded in even the smaller parts, like the outro guitar solo. Everyone clapped fiercely after, and as the place quieted down and Buckingham prepared to close the set, somebody behind me yelled "Tusk!" as loud he could, and I burst out laughing. It was just so belligerent, and such a perfect encapsulation of the crowd's alarming enthusiasm for the show, that I couldn't help myself. He finished things off with "Seeds We Sow," the title track of his latest album. (He also has a new live album, One Man Show, out on November 13, which features the exact same set list as last night.) I, too, would have preferred something from Tusk. But I was happy with what I got, and the rest of the crowd seemed to more than agree.

Set list:

Cast Away Dreams
Bleed To Love Her
Not Too Late
Stephanie
Come
Shut Us Down
Go Insane
Never Going Back Again
Big Love
So Afraid
Go Your Own Way
Trouble
Seeds We Sow

[redtulip]

Review: Lindsey Buckingham
http://backtorockville.typepad.com/b...uckingham.html

Chalk one up for baby boomers. Popular music is the realm of young musicians and relevant artists over the age of 60 are the exception rather than the rule. While he didn't break any new ground during his bracing appearance Sunday at Yardley Hall, Lindsey Buckingham demonstrated that he remains vital.

Buckingham, 63, used age to his advantage by supplanting youthful rebellion with urgent songs of uncommon maturity. During an unaccompanied performance for an audience of over 1,000, Buckingham reinterpreted old gems from his tenure with Fleetwood Mac and showcased sage songs from his solo career.
An arduous rendition of "Not Too Late" served as the emotional core of the concert and as Buckingham's statement of purpose. He repeatedly howled "it's not too late" as he created distressed ripples of sound with his masterfully plucked guitar. As with most of the evening's 13 selections, "Not Too Late" contained personal epiphanies from the astute perspective of a seasoned artist who understands that time is precious.

Partly due to his role in instigating the ambitious scope of Fleetwood Mac's 1979 album Tusk, Buckingham has been saddled with a reputation for musical excess.

The format of Sunday's solo concert, consequently, was particularly satisfying. Buckingham played acoustic and electric guitars and deployed unobtrusive prerecorded backing tracks on a few selections. The plaintive pop of "Trouble" and the gorgeous instrumental "Stephanie" contained the unadorned serenity associated with solo concerts. The full-throated vocals and phenomenal guitar picking on "Bleed to Love Her," however, contained lush bursts of sound.

Buckingham played the role of a repressed bluesman on a gritty version of Fleetwood Mac's "Come" as his tormented guitar solo evoked the work of Fleetwood Mac founder Peter Green. The enthusiastic response to his virtuosic solo on "Shut Us Down" led to a bit of uncharacteristic showboating.

A reworking of "Never Going Back Again" exposed the anguish at the core of the seemingly simple composition. "Go Your Own Way," another selection from Fleetwood Mac's 1977 blockbuster album Rumours, was the only song during which Buckingham seemed disengaged.

The lackluster version of "Go Your Own Way" aside, the concert was far from a routine exercise in nostalgic pandering. Buckingham said that he remains inspired to record and tour. He left little doubt that he's fully capable of continuing to create music of consequence, but the resolute spirit Buckingham displayed Sunday made his hasty exit seem entirely inexplicable.

His performance -- less than 75 minutes -- was scandalously short.

Setlist: Cast Away Dreams, Bleed to Love Her, Not Too Late, Stephanie, Come, Shut Us Down, Go Insane, Never Going Back Again, Big Love, I'm So Afraid, Go Your Own Way, Trouble, Seeds We Sow.

Read more here: http://backtorockville.typepad.com/b...#storylink=cpy

[elle]

Originally Posted by redtulip

I can't find a video online of that Chappelle's Show sketch about white people loving guitar solos, but if you've seen that, you pretty much understand the vibe last night. Buckingham is an amazing guitar player, and his 70-minute set was as much a clinic as it was a performance. He took the stage in a leather jacket and form-fitting jeans, looking at least a decade younger than his 63 years. After each song, he would tilt up his guitar and clutch it to his heart, as though it were a child, and bask in the wild applause. Then a tech would cross the stage and hand Buckingham a new guitar. I'm pretty sure he never used the same guitar on consecutive songs.

Buckingham's guitar choices have always been eccentric. He uses a lot of Turner guitars, and he seems to like guitars that are oddly small, and that sometimes don't have sound holes. For this reason, it is sometimes hard to tell whether he is playing an acoustic guitar or electric guitar. Last night, his guitars filled the room with a wide range of sounds. He can do everything: gentle, precise fingerpicking; wild, bombastic acoustic strums; even metal-ish guitar solos (seriously — he was shredding on "I'm So Afraid").

There are advantages and limitations to what Buckingham last night called "the small machine." Fleetwood Mac is the "big machine"; his solo performances are the "small machine." It's just Buckingham and his voice (plus occasional, tasteful drum and vocal backing tracks) up there, so he has devised ways of holding the audience's attention. Though he's soft-spoken and humble-seeming, he also has a flair for the dramatic. On "Not Too Late," he let the last note ring out for many seconds, its metallic ping echoing out and amplifying the room's reverent silence. Later, before launching into a guitar solo, he screamed "Dig it!" into the microphone. A few times, he closed songs by hopping gingerly and landing with a quiet, careful thud — part Eddie Van Halen theatrics, part something he might have picked up in a physical therapy session.

As the evening progressed, standing ovations became part of the routine. Around song four, it was just a smattering of excited adults up front. Forty-five minutes into the set, most of the room rose to hoot and holler after each song.

lmao!

Originally Posted by redtulip

Review: Lindsey Buckingham
http://backtorockville.typepad.com/b...uckingham.html

Chalk one up for baby boomers. Popular music is the realm of young musicians and relevant artists over the age of 60 are the exception rather than the rule. While he didn't break any new ground during his bracing appearance Sunday at Yardley Hall, Lindsey Buckingham demonstrated that he remains vital.

Buckingham, 63, used age to his advantage by supplanting youthful rebellion with urgent songs of uncommon maturity. During an unaccompanied performance for an audience of over 1,000, Buckingham reinterpreted old gems from his tenure with Fleetwood Mac and showcased sage songs from his solo career.

An arduous rendition of "Not Too Late" served as the emotional core of the concert and as Buckingham's statement of purpose. He repeatedly howled "it's not too late" as he created distressed ripples of sound with his masterfully plucked guitar. As with most of the evening's 13 selections, "Not Too Late" contained personal epiphanies from the astute perspective of a seasoned artist who understands that time is precious.

Partly due to his role in instigating the ambitious scope of Fleetwood Mac's 1979 album Tusk, Buckingham has been saddled with a reputation for musical excess.

The format of Sunday's solo concert, consequently, was particularly satisfying. Buckingham played acoustic and electric guitars and deployed unobtrusive prerecorded backing tracks on a few selections. The plaintive pop of "Trouble" and the gorgeous instrumental "Stephanie" contained the unadorned serenity associated with solo concerts. The full-throated vocals and phenomenal guitar picking on "Bleed to Love Her," however, contained lush bursts of sound.

Buckingham played the role of a repressed bluesman on a gritty version of Fleetwood Mac's "Come" as his tormented guitar solo evoked the work of Fleetwood Mac founder Peter Green. The enthusiastic response to his virtuosic solo on "Shut Us Down" led to a bit of uncharacteristic showboating.

A reworking of "Never Going Back Again" exposed the anguish at the core of the seemingly simple composition. "Go Your Own Way," another selection from Fleetwood Mac's 1977 blockbuster album Rumours, was the only song during which Buckingham seemed disengaged.
Read more here: http://backtorockville.typepad.com/b...#storylink=cpy

love this review - and the end of it just tells you how he doesn't like it when there's no guitar-strumming audience on their feet in front of him for GYOW - it just looses its vibe and he just rushes through the song. so i really don't understand why he has announced to have seated audience in some of the standing-only GA venues such as Orange Peel and Track 29. i know of people giving up on seeing the show b/c it will not be standing...

this second review is originally from The Kansas City Star, and titled

Lindsey Buckingham at Yardley Hall: Short but sweet
BY BILL BROWNLEE
Special to The Star

Read more here: http://www.kansascity.com/2012/11/05...#storylink=cpy

[elle]

Trouble - http://www.youtube.com/watch?v=MnE2r...ature=youtu.be




Go Your Own Way - http://www.youtube.com/watch?v=X0NM3...hannel&list=UL

[michelej1]

Originally Posted by elle

( so i really don't understand why he has announced to have seated audience in some of the standing-only GA venues such as Orange Peel and Track 29. i know of people giving up on seeing the show b/c it will not be standing...

Having a no standing show would really encourage me to go.

But the engagement is not a one-way street. When Lindsey responds to the people during the opening songs that gets them going early on. When I've seen the crowd most enthusiastic Lindsey was talking back to them. He'd hear them say something and he'd have a snappy reply and he'd be making little jokes from the start and that changes the mood in the audience and I think it makes people feel that they are more welcome to approach the stage later on. But when he's not saying anything in the beginning and just giving a tight smile when the audience speaks out, you feel that it's polite to keep a distance. He can set the tone. He can engage.

Like in OKC when someone said "you're playing your ass off," he smiled and that was fine, but I've seen nights where he would have done a lot more, quipping and flirting and it makes the audience feel a sense of comraderie and when there's that spirit in the air, you feel closer and are more likely to go up. Now, in places where he has lots of fans who have many shows under their belt, they take the lead and he doesn't have to. They break down the glass wall he sometimes sets around himself. But in places where there are not as many regulars and they don't know what's allowed and what's not, he can change their behavior, if he wants.

When he doesn't want that's fine, but that definitely does lead to a more sedate audience.

Michele

[McTrouble]

Originally Posted by michelej1

Having a no standing show would really encourage me to go.

But the engagement is not a one-way street. When Lindsey responds to the people during the opening songs that gets them going early on. When I've seen the crowd most enthusiastic Lindsey was talking back to them. He'd hear them say something and he'd have a snappy reply and he'd be making little jokes from the start and that changes the mood in the audience and I think it makes people feel that they are more welcome to approach the stage later on. But when he's not saying anything in the beginning and just giving a tight smile when the audience speaks out, you feel that it's polite to keep a distance. He can set the tone. He can engage.

Like in OKC when someone said "you're playing your ass off," he smiled and that was fine, but I've seen nights where he would have done a lot more, quipping and flirting and it makes the audience feel a sense of comraderie and when there's that spirit in the air, you feel closer and are more likely to go up. Now, in places where he has lots of fans who have many shows under their belt, they take the lead and he doesn't have to. They break down the glass wall he sometimes sets around himself. But in places where there are not as many regulars and they don't know what's allowed and what's not, he can change their behavior, if he wants.

When he doesn't want that's fine, but that definitely does lead to a more sedate audience.

Michele

Yes, this does work most of the time - but not always! We can work really hard to get things going but now and again it just doesn't cut any ice!