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 on: July 03, 2015, 10:35:15 am 
Started by sharonc - Last post by sharonc
This 4th of July, spend $40 in John Mellencamp's exclusive online store and receive 20% off your order! Use Code JMFOURTH Code expires 7/5 Sale does not include music or media

 on: July 02, 2015, 10:00:47 pm 
Started by cge333 - Last post by walktall2010
John comes on just after 8:30 and plays until about 10:25 or so. Carlene Carter, the opening act, takes the stage at 7:30 sharp and plays 45 minutes.

 on: July 02, 2015, 03:48:04 pm 
Started by cge333 - Last post by cge333
To those that have been to shows on this tour so far, approx. what time does Mellencamp actually takes the stage and how late (most places have an 11:00 hard stop) does he typically go?  I've got some shows coming up later this month.  Thanks in advance.

 on: June 26, 2015, 08:34:42 am 
Started by Alex1974 - Last post by Ivanvee

If John comes to Perth Australia (well over due) pass on my email and happy to have him stay over to save on expenses, in fact probably can find him a bed in most the major cities haha

An Australian tour is WELL OVERDUE and he wont go un-noticed or un appreciated down under, lets make it happen soon please.

Any talk/consideration at all of tour down under?


 on: June 25, 2015, 11:05:27 pm 
Started by walktall2010 - Last post by walktall2010
The Long Road to Completing 'John Cougar,' Keith Urban's Newest Hit
By Tom Roland

When Keith Urban performed with John Mellencamp during the May 21 NBC special Red Nose Day, he decided against telling Mellencamp about his next single. "John Cougar, John Deere, John 3:16" hinges in part on the stage name that a former manager stamped on Mellencampís first albums, and itís been a point of contention in his career.

"Heís obviously got mixed feelings on the name John Cougar," allows Urban. "I didnít really want to get into all that."

The journey from Cougar to Mellencamp symbolized the artistís struggle to define and honor his own identity. Self-definition is part of everyoneís life path -- whether itís recognized or not -- and itís at the root of the "John" songís journey, too. Identifying what was in it was a struggle and finding the best way to express it became a separate puzzle.

One thing about it: The artistic destination for "John Cougar, John Deere, John 3:16" was sealed barely a week after the songís conception. Urban sang it live for the first time on Feb. 25 at the Ryman Auditorium during Country Radio Seminar. He didnít know until before hitting the stage that he was going to play it, and didnít even know if he could remember all the lyrics.

"Maybe two days later, somebody sent me a YouTube link, and thatís the first time I actually heard the crowd react to the end of the first chorus," recalls Urban. "I thought, ĎOh, thatís a good sign. Itís sort of like the punch line landed and they laughed.í It connected in the way I hoped it would, so I think thatís probably what had all of us start thinking maybe thatís the first song we should get in the studio and work on."

Songwriter Ross Copperman ("Smoke," "Beat of the Music") provided the foundation for "John Cougar," a rootsy track he had built around acoustic guitar patterns before a songwriting session with Shane McAnally ("American Kids," "Wild Child") and Josh Osborne ("Merry Go íRound," "Take Your Time"). Copperman had pieces of the melody in place, but didnít know what direction the lyrics needed to take. They quickly settled on a nostalgic vein for a generation McAnally dubs "the MTV-era kids."

"All of the writers that I write with come from that small-town place where we didnít have a lot, but it seemed like we had a lot because we had all we needed," says McAnally.

Osborneís father had bought him an old-school gramophone after "Merry Go íRound" became a hit for Kacey Musgraves, and a reference to that machine kicked off the first-verse romp down memory lane, building a story through such images as John Wayne, Pepsi-Cola and Don McLeanís "American Pie." More ideas piled up in the chorus, including a reference to "The Boulevard of Broken Dreams" (a painting that features James Dean and Elvis Presley -- not the Green Day song) and a line about "Marilyn Monroe and the Garden of Eden."

"I donít exactly know what that line means, but thatís my favorite line in the whole song," offers Osborne.

It didnít come easy, and at one point, they considered abandoning the song. But when "John Cougar" spilled out at the end of the chorus, it led to a jag where they tied in some other "John" references, and they realized they were creating a song with some lyrical weight.

"John Cougar references all the sort of sexual tension of teenage angst all of us were growing up in," says McAnally. "John Deere represents the way that our parents worked and what we saw living in the country, and of course [thereís] the element of religion. And [thereís] irony in John Cougar starting the line, and John 3:16 ending the line because that was the push and pull of that teenage thing."

The craft part of songwriting took over as they supported the John Deere piece with country images in verse two and stuffed the John 3:16 religious background into the bridge. A demo was completed that day, and they soon picked Urban as a target for the song. McAnally sent him the demo, and within days, Urban visited Copperman to sing on top of the tracks. "I think he just wanted to hear himself sing it and see how he sounded on the song," says Copperman.

Urban subsequently gave the Ryman performance, which publicly marked it as his song. But turning it into a recording was difficult, especially because Urban aspired to do something that wasnít just copying the sound he had already established. He enlisted drummer Matt Chamberlain to create a loop and started building the song around drums, vocal and acoustic guitar. He thought it was too predictable, so he tried electric, to no avail. Then he pulled a bass off the wall at Blackbird Studios and laid down a pinging line to show a studio bassist who arrived later that day.

"Keith doesnít play bass all the time, but heís such an intuitive musician," says producer Dann Huff (Rascal Flatts, The Band Perry). "He played it with such a different take, unlike any bass player would do it. I felt bad for the bass player. He came in and heard it and was like, ĎWhatís wrong with that?í And the answer was, ĎThereís nothing wrong with it.í"

Urban also created a four-note guitar pattern that sort of answers the vocal  -- "Itís kind of calypso, almost reggae-ish," he says -- and a track on a Kendrick Lamar album inspired him to build in a key change. But it wasnít just a standard modulation up; he wanted to return to the original key before the song ended.

"The trick with going back was that it almost never works because itís anti-climatic," says Urban. "You canít lift everything up and then drop it back down and think itís going to hold the energy, so it took us forever to figure out how to do it."

Urban also grafted on a spacious guitar solo that uses a tone and wah-pedal fuzziness inspired by the Steve Miller Band pop single "The Joker." To top it off, he did multiple vocal recordings in Nashville, Los Angeles and Australia as he hopped continents in the middle of American Idol tapings. Each time, he got a little closer to the emotional center of "John Cougar."

"Some songs, you just wear íem around like a squeaky leather jacket," says Urban. "It just takes a while for it to feel loose, and just to feel right."

Capitol Nashville released "John Cougar, John Deere, John 3:16" to radio June 9, and Urban performed it the next day on the CMT Music Awards. Itís No. 24 in its second week on Country Airplay and No. 25 in its third week on Hot Country Songs. Whether people are responding to the nostalgia or the struggle it represents, theyíre clearly drawn to "John Cougar," the song and the icon, who made America real to a kid growing up Down Under.

"His songwriting was such a huge part of my life," says Urban. "I almost feel like between all the TV I grew up with in Australia and John Mellencampís music -- among many others -- I knew what it meant to live there and grow up there."

 on: June 18, 2015, 08:38:25 am 
Started by TonyBClubManager - Last post by TonyBClubManager
With 34 days to go until Portland, Fresno and LA shows start, do we know when the diamond package merchandise will be shipping? I was thinking of using the messenger bag as part of my carry-on luggage:). Best regards to all

The Diamond Package/VIP items typically arrive about a week before the show.

If you get close to your show and your items have not arrived please email for an update. That is answered by AEG Live who is the tour promoter and vender for the Diamond Ticket Packages.

The items are not required to pick up your tickets/attend the show.

If there are any issues please keep us in the loop at

 on: June 18, 2015, 06:58:20 am 
Started by walktall2010 - Last post by walktall2010
Mellencamp fires up his crowd at Berglund Performing Arts Theatre
By Tad Dickens

Nearly 40 years have passed since John Mellencamp started in the music business, and he still knows how to get a crowd stirred up.

From the look of things at Berglund Performing Arts Theatre on Wednesday night, many in the audience of 1,797 had been Mellencamp fans since he first came to national prominence in the early 1980s. But they were just as game as the headliner to rock out. Some were a little too game. Some were even obnoxious.

By the end of the night, even Mellencamp was exasperated with the struggles among security and one giant and overly exuberant reveler.

"Would you guys quit fightin' down there?" he called out after he and his band played one of his signature hits, "Pink Houses." "I'll have to hop down there and kick you guys' asses or something."

It wasn't the typical relaxed crowd in the 2,100 seat venue. But that's what good rock 'n' roll music can do to people. It can get them fired up, maybe a little out of their minds. Mellencamp figured that out way back when, with such classics as "Small Town," "Paper In Fire," "Crumblin' Down" and "Authority Song."

He and his groove and texture machine of a six-piece band delivered those songs, some newer and lesser known ones, even a couple of numbers that he wrote with horror author Stephen King for a musical.

Of the musical, "Ghosts of Darkland County," Mellencamp said that he and King didn't know what they were doing when they began working on it 15 years ago, but it is now scheduled for production in London's West End.

"Art is never complete; it is only abandoned," he told the crowd. "The only critic without an agenda is time. Time will tell what kind of person you are."

Two hours told the tale of a performer who at first seemed distant, but by the end was fully engaged, his raspy Indiana drawl warming up as the set went on, his outsized charisma keeping security busy with audience members who wanted to rush the stage or spaz around the center aisle.

He started the show with songs from his most recent album, "Plain Spoken" ó the big beat shuffle of "Lawless Times" and the fiddle-fueled angst of "Troubled Man." He was four songs in before pulling out the first hit, "Small Town," but the crowd was already with him. It stayed with him as he covered Robert Johnson's "Stones in My Passway," Mellencamp reaching way up for notes and grinning at the end.

The rowdiness really started to build as he sang "Check It Out." "Getting too drunk on Saturdays / Playin' football with the kids on Sundays / "Soarin' with the eagles all week long / And this is all that we've learned about livin.'"

That's part of his appeal ó a down home philosophy that appeals to blue collar people and inspires them to raise some Cain. "Rain on the Scarecrow" was a blast of rock with lyrics about a failed family farm. Show closer "Cherry Bomb" was about reminiscence, Mellencamp introducing it by noting that "people love to talk about old times."

He gave them some more of them to talk about.

Opening act Carlene Carter had plenty of old times to recount, having grown up the daughter of June Carter Cash, step-daughter of Johnny Cash and granddaughter of country music founding "Mother" Maybelle Carter. Carter, performing solo, played music from her most recent project, "Carter Girl," a tribute to the Carter Family era and its music, as well as from her own rocking past, opening a 44-minute set with her MTV-era number, "Every Little Thing."

Her voice is like a family heirloom, and her guitar picking style was reminiscent of Maybelle Carter's.

Mellencamp called her back out to help with the "Ghosts of Darkland County" numbers. Their harmonies made a listener wish for more of the same.

 on: June 18, 2015, 02:18:01 am 
Started by Ed1368 - Last post by Batomseven
But what a shock that it was true.

 on: June 17, 2015, 06:17:39 pm 
Started by sharonc - Last post by sharonc

The Island Packet: Mike Wanchic Interview / Johnny Mercer Theatre Preview
06.17.2015 - BY ERIN SHAW - The Island Packet

After nearly four decades as John Mellencamp's lead guitarist, Mike Wanchic says he wouldn't go back and do a single thing differently.
Such a resolute attitude is fitting for a band that has long since given up chasing radio hits in favor of writing and playing music on its own terms.

On his latest "Plain Spoken" tour, Mellencamp and his band have designed a set that delves deep into their song catalogue for what they consider to be their most important work, radio hits be damned.

Mellencamp will play at Savannah's Johnny Mercer Theatre on Friday.

"It's so simple when you've been a band as long as we have to put together a string of hits. But after 22 albums, we have so many beautiful songs. So this tour is designed around what we consider to be our best songs," Wanchic said. "There are hits in there no doubt, but there are all kinds of variation in the music. There's acoustic music and songs that some folks are not going to be familiar with that are some of the finest songs we've ever written."

"The Voice of the Heartland" has always been lauded for his candid songwriting, dating back to 1980s when he rose to superstardom with singles "Jack & Diane," "Hurt So Good," and "Pink Houses." His latest album has the same "gruff directness," Billboard reviewed.

The difference is that the band now has the clout to dictate what it wants to do and when, and is generally left to its own devices by record companies.

"I don't give a [expletive] what everybody else is doing!" Mellencamp told Esquire last year. "I don't care. What do we care? I spent my entire life trying not to be like everybody else."

Before the group stops in Savannah, we spoke with Wanchic about first meeting Mellencamp in 1976, the "encouraging" demise of record companies, and how the band has leveraged not caring about what others are doing in order to withstand the test of time.

Question. How old were you when you first met John Mellencamp?

Wanchic. I was in my early 20s.

Q. What was your first impression of him?

Wanchic. He was a wild man. On first meeting, he was like this rough-cut, wild, obviously very talented person. I don't know if I can credit myself with this -- I like to think I can -- but I knew immediately this guy was a star. As undeveloped and rough-edged as it was, people sometimes just have something.

Q. Have you noticed any differences between the audiences you play for now? Has the energy changed over the years at all?

Wanchic. I think the crowds are equally excited. A lot of the fans who come to see us at this stage in our career are real fans, not laissez faire fans. So there's a deeper appreciation for the deeper catalogue.

Q. Would you say part of your success has to do with not minding what other groups are doing and staying the course musically?

Wanchic. Exactly. That's why we stayed in Bloomington, Ind. We had our moment where we could have moved to Los Angeles -- we were encouraged by the record company to do it. But we would have landed right in the middle of the hair glam band scene in L.A. What would that have had to do with us? Being able to create the music we have in isolation has allowed us to be much less influenced by our contemporaries. I think that's been vitally important to not follow the herd mentality.

Q. What do you think you'd be doing if you hadn't met John?

Wanchic. I'd probably be a Southern gentleman on a tobacco plantation. That's what my family's business was.

Q. What do you think his music would sound like if he hadn't met you?

Wanchic. It's hard to say. What he and I have done musically is magnify each other's strong points. We're similar in age and musical background. I grew up in Lexington, Ky., he grew up in Seymour, Ind. There was radio station in Louisville that we both listened to all the time. It was early exposure to Motown and early rock and Brit rock. So when he and I met, we had a very similar language. There was a real easy music communication. He'd say, "Make it sound like a Motown beat and throw some Young Rascals on it," and I'd know exactly what he meant.

Q. What young artists are you liking right now?

Wanchic. I like everything from My Morning Jacket to Cage the Elephant. There's wonderful music out there right now. The thing that's encouraging is the demise of the major record companies. I say that because new layers of talent are allowed to emerge that earlier would not have been able to do so because it didn't fit the exact mold of a given record company. For me that makes for a healthier, more robust music scene. It allows a lot of people to have dignity and grace and play the music that they way want to play for people without outside input from a record company.

Q. If you could go back and tell your younger self one thing, what would it be?

Wanchic. To do exactly what I've done and stick it all the way to the very end. This is a business that most people don't ever really prevail in long-term. We've managed to do something that virtually no one has done. We have managed to survive time.

 on: June 17, 2015, 10:20:27 am 
Started by TonyBClubManager - Last post by patio
With 34 days to go until Portland, Fresno and LA shows start, do we know when the diamond package merchandise will be shipping? I was thinking of using the messenger bag as part of my carry-on luggage:). Best regards to all

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