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#106
08-30-2008, 11:41 PM
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the 24th show on The Wild Heart Tour
August 31,1983 Austin, Texas Venue: Frank Erwin Center  from BILLBOARD Magazine Boxscores Headliner: Stevie Nicks Opening Act: Joe Walsh Frank Erwin Center(Univ. of Texas)Austin Produced by: In House Ticket Prices: $13.50 & $11.50 Available Tickets: 12,708 Tickets Sold: 11,202 Concert Gross: $145,798 Last edited by vivfox; 09-01-2008 at 01:17 AM.. 
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#107
09-01-2008, 01:15 AM
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the 25th show on The Wild Heart Tour
September 1,1983 Houston, Texas Venue: The Summit  from BILLBOARD Magazine Boxscores Headliner: Stevie Nicks Opening Act: Joe Walsh Summit, Houston, Tx. Produced by: Pace Concerts Ticket Prices: $13.75 Available Tickets: 16,177 Tickets Sold: SELLOUT Concert Gross: $217,827 62 people have viewed this thread in the last 24 hours!
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#108
09-03-2008, 11:31 PM
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the 26th show on The Wild Heart Tour
September 4,1983 Memphis, Tennesse Venue: Mid South Coliseum  from BILLBOARD Magazine Boxscores Headliner: Stevie Nicks Opening Act: Joe Walsh Mid South Coliseum Produced by: Mid South Concerts Ticket Price: $11.50 Available Tickets: 11,999 Tickets Sold: SELLOUT Concert Gross: $137,988
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#109
09-04-2008, 02:37 AM
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vivfox, thanks for the post and pictures.
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#111
09-04-2008, 09:56 PM
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Philadelphia Inquirer (PA), September 4, 1983
Section: FEATURES ENTERTAINMENT ART A WEIRD YEAR FOR ROCK STARS ON THE ROAD Ken Tucker, Inquirer Popular Music Critic Although the overall quality and diversity of pop music these days are a cause for rejoicing, the reports of a resurgence in the music business have been rather premature in one area: So far, 1983 has proved to be an uneven year for the rock-concert business. David Bowie, the Police and Willie Nelson sell out concert halls all over the country. But equally big names, such as Linda Ronstadt, Rick Springfield and the Australian sensation Men at Work, have had difficulty in filling concert arenas in some major cities, including Philadelphia. "Apparently what is disturbing concert-promoters across the country is that everything is so unpredictable," says Paul Grein, the music research editor at Billboard magazine, the music-industry trade publication. "One platinum-selling act will sell out 50,000 tickets in a matter of hours; the next act with a major hit single will have trouble selling a third as many tickets. There doesn't seem to be any way to predict which acts will succeed in drawing a big audience anymore." Here in Philadelphia, Greg Benedetti of East Coast Concerts agrees with Billboard's assessment. "It is much more difficult to gauge the public's current interest in bands that were in the past automatically considered sellout attractions," notes Benedetti. "Despite the news from Washington that the economy is on the upswing, we're finding that the poor economy - specifically kids without much spending money for shows - is still affecting our business." No pattern emerges when you look at examples of big winners and losers in concert halls in Philadelphia and elsewhere in the country. East Coast Concerts reported a very poor showing for its July 3 Atlantic City Pier show with British rocker Dave Edmunds. Rick Springfield was riding high on the record charts with his hit single "Human Touch" when he filled less than half the seats at the Spectrum in July. And the Ripley Music Hall had a dismal turnout in May for Mutabaruka, the most widely praised reggae artist in recent years. Similarly, the current "Budweiser Superfest" concert series - featuring a revolving lineup of such big-name acts as the O'Jays, George Clinton, Kool and the Gang and the Whispers - has had very uneven audience attendance as it travels around the country, making its Philadelphia arrival next Saturday a commercial enterprise to watch. A rock legend like Eric Clapton failed to fill the Spectrum to capacity in February, but ZZ Top, considered a "regional" band with its strongest appeal in the Southwest, sold out the facility in July. (Depending on where the stage is placed in the Spectrum, seating capacity ranges from 16,000 to 18,500.) Throughout the country, the drawing power of pop acts continues to seesaw. Marvin Gaye sells out seven nights at Radio City Music Hall, but watches his audiences dwindle as his tour moves into the Southwest, and the combination of two stars, Stevie Nicks and Joe Walsh, on one nationwide tour produces only sporadic sellouts. Yet supposedly offbeat acts like Talking Heads and Neil Young find themselves playing to capacity crowds. One thing suggested by this situation is that the music business is in a process of radical change. The most popular trend of the 1970s, for example, was the pop audience's fondness for introspective singer-songwriters - performers such as Linda Ronstadt, James Taylor, Jackson Browne and Joni Mitchell. Nowadays, in the midst of up-and-coming trends such as "new music" (rock music influenced by black dance music), such acts find their power as a draw to be inconsistent to the point of sometimes being seriously strained. For instance Browne, whose "Lawyers in Love" album is currently in Billboard's Top 20, sold out New York's Madison Square Garden a month ago but only managed to fill about half of Pittsburgh's 12,000-seat Civic Arena. Then he rebounded on Aug. 3 to do standing-room-only business at the Spectrum. On the other hand, a band like the Police, which only a few years ago was labeled a "punk-new wave" act of limited commercial appeal, is now the hottest rock group in the world. The British trio's recent appearance at New York's Shea Stadium sold out - 60,000 seats - in an astonishing five hours. And their SRO performance with Joan Jett, R.E.M. and Madness at Philadelphia's JFK Stadium on Aug. 18 grossed $1.15 million, according to Variety statistics. In general, there is an increasing acceptance among music fans for the sort of rock 'n' roll that until very recently seemed too eccentric to attract huge numbers of people. A prime example of this occurred locally last Wednesday when the British band Culture Club filled Upper Darby's Tower Theater to capacity. Culture Club, fronted by the odd, androgynous-looking singer Boy George, is exactly the sort of rock act that industry experts used to dismiss as a cult act. Meanwhile, Billboard reports that a veteran band like the hard-rock Aerosmith - once a supergroup that could easily sell out a large arena - has been having trouble filling seats throughout the country. The band recently sold only a third of the capacity of the San Diego Sports Arena, for example. And current supergroup Asia, despite a Top 10 album titled "Alpha," earned only slightly more than half of the Spectrum's potential gross when it played that facility Aug. 27, according to Variety figures. "The acts themselves are becoming more conservative about all of this," observes East Coast's Benedetti. He points to the example of Eddy Grant, the pop-reggae star whose recent hit was "Electric Avenue." Grant was scheduled to appear at the 1,000-seat Tower Theater last month but, Benedetti says, "ticket sales were slow." "We at East Coast Concerts were willing to take a chance on the fact that he'd get a lot of last-minute ticket sales, but his people (Grant's booking agency, record company and management) decided they didn't want to do that. So, complying with their wishes, we moved the show to the Ripley Music Hall," the South Street nightclub that holds 440 people for a seated concert and 550 for a dance concert. It would be a mistake to depict the summer concert situation as another indication of pop music's imminent collapse, of course. For one thing, record sales are up for the last year. For another, the popularity of "video" - the short promotional films showing pop stars in action - continues on both cable and commercial television. But Billboard's Grein thinks that the popularity of videos may be cutting into live-concert business. "Increasing numbers of kids are undoubtedly thinking, 'Why pay to see a band perform when you can watch them in the comfort of your home for free or for the comparatively small price of a cable-TV subscription?' " he theorizes. On a local level, Benedetti observes that "there is no major outlet for new-wave acts, a place for new acts from all over the country to come in and show Philadelphia what they've got. "The radio stations here in town don't do enough to expose the new music that could in turn help the concert business in town, for us and for a place like the East Side Club. WIFI (a local FM station that recently switched from a "new-music" to an urban contemporary format) helped satisfy a need for us in that respect. Our key to success is breaking new acts, and they were playing a lot of adventurous music. But since their format change, there's been no one to take up that slack. "No one has taken the time or the patience to educate that young audience out there, to let them know that there is exciting music being made that they're not hearing. And if they don't hear it, they won't pay money to go and see it."
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#112
09-04-2008, 11:41 PM
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the 27th show on The Wild Heart Tour
September 5,1983 Dallas, Texas Venue: Reunion Arena  from BILLBOARD Magazine Boxscores Headliner: Stevie Nicks Opening Act: Joe Walsh Reunion Arena, Dallas, Tx. Produced by: Pace Concerts Ticket Price: $13.50 Available Tickets: 16,300 Tickets Sold: 14,772 Concert Gross: $193,171 148 people have viewed this thread in the last 24 hours!
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#113
09-08-2008, 05:58 PM
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the 28th show on The Wild Heart Tour
September 8,1983 Portland, Maine Venue: Cumberland County Civic Center  from BILLBOARD Magazine Boxscores Headliner: Stevie Nicks Opening Act: Joe Walsh Cumberland county Civic Center, Portland, Me. Produced by: Frank J. Russo Ticket Price: $12.50 Available Tickets: 9,415 Tickets Sold: SELLOUT Concert Gross: $117,687
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#114
09-08-2008, 11:21 PM
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the 29th show on The Wild Heart Tour
September 9,1983 Bristol, Rhode Island Venue: Colt Park Amphitheater  from BILLBOARD Magazine Boxscores Headliner: Stevie Nicks Opening Act: Andy Pratt & The Pull Colt Park Amphitheater, Bristol, R. I. Produced by: Frank J. Russo Ticket Price: $14.50 & $13.50 Available Tickets: 9,015 Tickets Sold: SELLOUT Concert Gross: $123,781 I believe this was the only show on this tour that Joe Walsh was NOT the opening act. A friend of mine went to this show. She told me Stevie threw a pineapple, which was a stage prop, at a drunk guy in the front row who was yelling sexual sh** at her while she was performing. My friend was drunk too, so who really knows. No one else seems to have heard about this. I can't imagine it being true.
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#115
09-09-2008, 01:07 PM
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Memphis photo
Thanks for all the awesome pictures from the Wild Heart tour! I love the Memphis one especially since I am from Nashville, out of sight!!!!thanks
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#116
09-09-2008, 01:29 PM
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I remember not knowing about this show 'til the day of and I couldn't go...couldn't get my McD's shift covered. The next day co-workers who went told me that the crowd was rowdy, and that she threw something at the audience.
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#117
09-11-2008, 01:36 AM
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#118
09-11-2008, 09:11 AM
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Ok, yes, I just googled it and it was broadcast live December 10th.
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#119
09-11-2008, 09:41 AM
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A round of applause !
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