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 21 
 on: February 23, 2019, 03:06:29 pm 
Started by sharonc - Last post by sharonc
https://www.providencejournal.com/entertainmentlife/20190222/mellencamp-show-reveals-old-rocker-who-can-still-let-loose

One cue that this wouldn’t be the typical concert was its billing as “The John Mellencamp Show” and the note that it would start promptly at 8 p.m.

The lights at the Providence Performing Arts Center dimmed at exactly that hour Friday night for a 15-minute biographical film about the 67-year-old Rock and Roll Hall of Famer featuring clips of interviews, American Bandstand and MTV appearances and his disembodied voice talking about an industry that made him change his name, tried to direct his music and contributed to his heart attack at the age of 42.

The film stoked the audience for the arrival of Mellencamp and his six-piece band for a 90-minute music set that almost lifted the roof off the building. As Mellencamp, self-billed as the “American Poet,” told the largely middle-aged crowd, “There’s going to be songs you know, songs you don’t know, songs you can sing along to and songs you can dance to.” And that was no lie.

Mellencamp, who’s logged 22 Top 40 hits and earned a Grammy Award, has been rocking his own blend of blues, rockabilly and solid rock ‘n’ roll since the 1970s but he sounded as fresh and as powerful as ever, and when he slung low in that squatty rocker’s crouch to wail on his guitar for “Paper and Fire,” it may as well have been 1985 all over again.

True to his statement, Mellencamp offered solid versions of such hits as “Small Town,” “Pink Houses,” “Jack and Diane” and “Lonely Ol’ Night,” his husky voice rolling easily over the lyrics that tell tales of Middle Americans’ struggles and dreams. He also introduced the audience to others like the more bluesy sound of “Lawless Times,” “Minutes to Memories” and a grittier “Troubled Land.”

His band featured prominently at points, too, lending a more countrified sound to the tunes. The guitars of Mike Wanchic and Andy York ground out a fiery chorus in “Pink Houses” while Troye Kinnett on accordion and Miriam Sturm on violin combined for a riveting overture that led into “Rain on the Scarecrow.” Sturm’s playing was fierce and full bodied, whether she was offering a wail back on “Easy Target” or haunting notes in “We Are the People.”

The show was well-paced with a soulful acoustic section in the middle for which Mellencamp demanded quiet attention, telling anyone wanting to shout to go into the lobby for a beer. His down-home demeanor added charm to “Longest Days,” a song prompted by his elderly grandmother telling him “life is short, even in its longest days.”

The acoustic portion of the set darkened a bit with “Full Catastrophe” and “Easy Target,” but Mellencamp kicked it back in high gear with a raucous version of “Crumblin’ Down” before rounding out the night with more nostalgia in “Authority Song” and “Cherry Bomb.”

 22 
 on: February 23, 2019, 09:20:40 am 
Started by Jackiehaz - Last post by TonyBClubManager
Hi Sharon
Do you have any idea when we will receive our VIP merchandise? We are going to see John in Nashville so we are turning it into a mini vacation and will be there the Saturday before the show. The last time we had VIP merchandise coming was for the Savannah show and it arrived at my home the day of the show. (I live four hours away from Savannah) I would have loved to have my lanyard to wear at the show.

Thanks for all you do!
Lisa Norris
Georgia

The VIP package items typically arrive about a week before the show, and at times the week of the show.

If you get close to your show and your items have not arrived please email JohnMellencampVIP@aeglive.com for an update. That is answered by AEG Live who is the tour promoter and vendor for the 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! Email us at help@mellencamp.com for fastest reply.

 23 
 on: February 22, 2019, 10:28:06 am 
Started by Jackiehaz - Last post by MNorris149
Hi Sharon
Do you have any idea when we will receive our VIP merchandise? We are going to see John in Nashville so we are turning it into a mini vacation and will be there the Saturday before the show. The last time we had VIP merchandise coming was for the Savannah show and it arrived at my home the day of the show. (I live four hours away from Savannah) I would have loved to have my lanyard to wear at the show.

Thanks for all you do!
Lisa Norris
Georgia

 24 
 on: February 19, 2019, 11:37:38 am 
Started by sharonc - Last post by sharonc
https://thedailyripple.org/index.php/component/content/article/97-contributor-dm/371146-a-serenade-for-alternative-america-john-mellencamp

I sang my songs for millions of people / Sang good and bad news…

- John Mellencamp, “Void in My Heart.”

 

The role of the troubadour, a Middle Ages musician, was to travel from village to village and kingdom to kingdom, to share with the common people important developments of war, famine, power, and palace intrigue. Because literacy rates were low, the troubadour told the news in rhyme and with melody so that it would become memorable to the audience. John Mellencamp once said that had he not achieved any success in the rock and roll genre, he would have lived as a modern troubadour – throwing his old acoustic guitar in the back of a rusty, used car, and driving the highways, county roads, and backstreets of America, singing his songs and telling his stories to whatever barroom or coffeehouse crowd would listen.

 

After selling millions of records, scoring 23 top ten hits, and winning nearly every musical award of prestige available to a performer in his generation, his professional prosperity is inarguable. Remove the accessories and amenities of “rock star” status, however, and it becomes equally clear that Mellencamp’s artistic mission and message is no different from the unpackaged and primitive troubadour of antiquity. Rather than an old car with a loud muffler and dented fender, Mellencamp arrives in town in a tour bus, and instead of a single guitar in a scratched case, a truckload of instruments accompanies he and his band.

 

On February 15, 2019, John Mellencamp and his bandmates brought their storytelling show of rock, folk, and blues to Peoria, Illinois. The largest city on the Illinois River, with a population of approximately 120,000, Peoria dwarfs the “small town” of Mellencamp’s origin – Seymour, Indiana – but it shares with Seymour the qualification of “where they are not,” as in the advice Mellencamp recalls Pete Seeger giving him for creative longevity, “Go where they are not.”

 

As his international popularity proves, Mellencamp writes and sings songs that resonate with people who live “out in the sticks,” to use a phrase from his own “Cherry Bomb,” and those who, as Jack suggests in “Jack and Diane,” “run off to the city.” The origin of his art, even so, has the particularity of roots in where “they are not.” The characters who populate his songs soar and suffer far from the glamour of Hollywood, the gild of New York, and the governance of Washington DC.

 

The songs that Mellencamp sang – the stories he told – in Peoria presented vignettes and vistas of an alternative America. Although Mellencamp made only one overtly political statement from the stage, it was impossible to separate the American dream of Mellencamp’s music from the monstrosity currently troubling the country.

 

A twenty minute documentary film on Mellencamp’s life in music, and the impact of his songs on his fans, opened the evening. The smoky voice of the singer narrated footage from throughout his career, describing the highs and lows of his experiences, cataloguing everything from his begrudging acceptance of the “Cougar” moniker at his management and record company’s insistence to his heart attack in the early 1990s. The consistency through it all was his commitment to make real music, regardless of whether or not, at least in the beginning, he had a fake name. The testimonies of a diverse range of people, including a painter in Brooklyn and a pastor in Phoenix, who claim Mellencamp as inspiration acted as evidence of his accomplishment.

 

It is tempting to see the broadcast of the documentary to a captive audience as self-congratulation, but it is just as easy to view it as the narration of another story – Mellencamp’s own – a story that stands in stark contrast to the contemporary musical culture of frivolity and flimsiness. It is hard to imagine many of the current crop of hitmakers rolling into Peoria, 35 years from now to sing songs that make people raise their fists, swing their hips, and wipe their tear-filled eyes.

 

If art and authenticity are casualties of America’s current decline into corruption and silliness so too are many other principles and ideals, as the opening song dramatized. While his band held their instruments, and his two guitarists – Andrew York and Mike Wanchic – exchanged bluesy licks and loud shouts, Mellencamp took the stage backlit; his Elvis Presley hair showing streaks of gray. He counted four, and the band jumpstarted “Lawless Times,” the closer from 2014, “Plain Spoken.”

 

Mellencamp’s fiery and angry voice describes the criminality of Wall Street, Catholic priests, and even internet piracy to depict a nation out of control, drunk on its own avarice and ego. The music, unlike the rage of its subject, is full of whimsy. Reminiscent of Bob Dylan’s recent records, it is a traditional shuffle full of light instrumentation. Like Dylan, Mellencamp takes turns that are comedic, closing the gap between comedy and tragedy. If everyone is jockeying for their own power, profit, and pleasure, while they watch the foundation of their nation slip away, maybe in addition to a crisis, it is also a bad joke.

 

“Lawless Times” transitioned seamlessly into “Troubled Land,” a dark blues song from another recent Mellencamp release, chronicling the despair too prevalent in a country at war with itself. Dane Clark, pulling off the first of many musical tricks, kept a basic beat but did so with aggression and dynamism. The guitars had the crunch and grind of a bulldozer, while Miriam Strum played her violin with symphonic beauty. One of the best kept secrets of rock and roll music is that Mellencamp has one of the most capable and powerful bands in the business. No matter what story he tells, their execution of his composition enables his music to resound with full force.

 

Mellencamp’s vocal was its roughest in the earliest portions of the show, but with each song, he was able to hit higher notes and shout with greater clarity. It was almost as if the urgency of his lyrics, the excellence of his band, and the promise of his purpose strengthened his voice with each second.

 

To round out the opening quartet, Mellencamp returned to his classic record, Scarecrow. An album elemental to the emergence of the Alternative Country genre, it animates the lives of family farmers, lonely lovers, and elderly mill workers. “Minutes to Memories,” one of the best songs Mellencamp has written, had the Peoria audience singing along loudly to lyrics like, “An honest man’s pillow is his piece of mind.” It was an endorsement of an America alternative to the country visible on television news channels. It was an endorsement of an America where money does not dictate behavior, but virtues of fidelity, integrity and compassion are triumphant. “Small Town” brought a roaring audience to its feet.

 

Mellencamp has always expressed derision of the term, “Heartland Rock,” but if such a classification is legitimate, these are among it most definitive songs. They are rock and roll with twang – simple but emotive guitar meets an earnest vocal; plainspoken yet poetic verses of substance leading into booming, anthemic choruses, a solid and propulsive drum beat more Motown than British invasion.

 

The only break in the music was Mellencamp’s preemptive admonition of “loud motherfuckers” who like to scream during the “quiet section” of the show. “Do it in the hallway,” the singer said before adding, “And I heard someone yelling when I came out here, ‘Start the show!’ If you don’t like it, fucking leave. I don’t want you here.”

 

An alternative America, unlike the culture accessible through social media, is one where not every thought and feeling is worthy of amplification, and not every outburst and vulgarity is welcome.

 

The “quiet section” followed a few additional full band performances – a muscular take on Robert Johnson’s “Stones in My Passway,” the populist protest song, “We Are the People,” an especially rollicking “Lonely Ol’ Night,” and the melancholic folk meets rock depiction of middle class life, “Check It Out.”

 

Acoustic versions of “Longest Days,” “Jack and Diane,” bolstered by a deafening crowd sing-a-long, “The Full Catastrophe,” with Mellencamp channeling Frank Sinatra and Tom Waits while the keyboard player provided the sole accompaniment of bluesy and jazzy piano, and “Easy Target,” a ballad paying tribute to Black Lives Matter, complemented each other well. Before playing a note on his acoustic, Mellencamp told the story of the inspiration of “Longest Days.” His grandmother, while dying at the age of 100, told him, “Life is short even in its longest days.” The poignant, heartbreaking and soul caressing performance put Mellencamp’s number 1 hit, “Jack and Diane,” in an entirely new frame, making it clear that even in his early years of rock stardom, Mellencamp was exploring the tragic side of human life, and wrestling with the most universal of all truths: mortality.

 

While the plaintive piano notes of “Easy Target” travelled throughout the theater, Mellencamp declared his belief in “a living wage” and in “equal access to great education” to mitigate and prevent extreme income inequality. As the song ended, the singer took a knee.

 

In the alternative America, art is not reducible to background noise, the farce of “reality” television, or Twitter feeds. It is the medium through which people can explore the most critical of experiences – the life and death matters of urgency in the public square of politics, but also in the private spirit of individual introspection.

 

Within American music, Mellencamp is a prizefighter, and despite his advancing years, which he referenced a few times throughout the Peoria performance, he still is punching hard in championship bouts. Mellencamp’s excellent band returned to the stage, and he led them through fiery and defiant renditions of “Rain On the Scarecrow,” “Paper in Fire,” “Crumblin’ Down,” “Authority Song,” and the ultimate Midwest anthem of populist and progressive politics, “Pink Houses.”

 

With his band wearing formal attire, and given his well-earned status of elder statesman of American rock, Mellencamp might no longer seem like the rebel of Johnny Cougar era, but he is every bit as rebellious as he was when he made his debut. His enraged and impassioned delivery of “Rain On the Scarecrow” and “Paper in Fire,” especially following “Easy Target,” demonstrated an authentic fighting spirit of protest, desperately needed in a musical culture that has become far too complacent.

 

Bassist Jon E. Gee fought with his instrument as if he were taming a wild animal during “Crumblin’ Down,” playing a muscular line that would have made Lemmy Kilmister proud. The band plowed through with the pull of a truck, and Mellencamp hit his notes with deftness and emotion. On the next song, when he sang, “I fight authority…” it was easy to take his declaration at face value.

 

Mellencamp more playfully interacted with the audience than on previous tours, often stopping to tell stories about his youth, his children, and his bandmembers. Closing the show with a “song about old times,” “Cherry Bomb,” he led the band through the beautiful and breezy Carolina soul number, painting pictures of an era when “holding hands meant something.”

 

I was not yet born during the days of alternative America that “Cherry Bomb” describes, but hearing a romantic tribute to moments of forgiveness, friendship, optimism, and honesty, I knew that, even if it is nostalgic or overly idealistic, that is exactly where I want to live. 


David Masciotra (www.davidmasciotra.com) is the author of four books, including Mellencamp: American Troubadour (University Press of Kentucky, 2015) and Barack Obama: Invisible Man (Eyewear Publishing, 2017).

 25 
 on: February 18, 2019, 01:20:05 pm 
Started by KPILMAN - Last post by KPILMAN
 Tickets for Sale - NYC - Mar 27 - At Cost - GOLD VIP SEATS - 6

My availability has changed and I must catch another show in another city. 

I have 6 tickets for NYC.  All row A or closer.  All approximately within 5 rows from the stage.

I want these tickets to go to serious fans of JM. 

Selling at Cost.  Approximately $315 per ticket.  Printed tickets.  Face value is $255, some ticketmaster fees, tax. etc...makes each ticket worth approximately $315 + - (most of these charges appear on the tickets.  I can provide a receipt if needed).

Gold VIP tickets.  4 tickets in Row A (5th row), 2 tickets in row CC (3rd row). 

I prefer to sell these tickets.  It would allow me to regroup for a later concert.  I would however, consider a swap for tickets in Cincinnati, Evansville, Louisville, Memphis, Nashville, Charlotte, or Orlando.

If interested, please contact me at kevinpilman@msn.com to work out the details.  or text me 404-229-5115.  no calls please. 

Thank you. 

 26 
 on: February 18, 2019, 01:17:32 pm 
Started by KPILMAN - Last post by KPILMAN
Tickets for Sale - NYC - Mar 27 - At Cost - GOLD VIP SEATS - 6

My availability has changed and I must catch another show in another city. 

I have 6 tickets for NYC.  All row A or closer.  All approximately within 5 rows from the stage.

I want these tickets to go to serious fans of JM. 

Selling at Cost.  Approximately $315 per ticket.  Printed tickets.  Face value is $255, some ticketmaster fees, tax. etc...makes each ticket worth approximately $315 + - (most of these charges appear on the tickets.  I can provide a receipt if needed).

Gold VIP tickets.  4 tickets in Row A (5th row), 2 tickets in row CC (3rd row). 

I prefer to sell these tickets.  It would allow me to regroup for a later concert.  I would however, consider a swap for tickets in Cincinnati, Evansville, Louisville, Memphis, Nashville, Charlotte, or Orlando.

If interested, please contact me at kevinpilman@msn.com to work out the details.  or text me 404-229-5115.  no calls please. 

Thank you. 

 27 
 on: February 18, 2019, 08:41:13 am 
Started by dreamweaver - Last post by MNorris149
Crumblin Down edges out Pink House by a bit. I love seeing him jump over the parking meter! I also laugh at the beginning because my mom would always say she wanted to chase him down with a pair of scissors to get his hair out of his eyes!

The Pink Houses video holds a special place in my heart too because it debuted on Friday Night Videos when my mom was in the hospital and we got to see it together. That was when she told me that she hoped I would meet him one day. That was Dec. 23, 1983. She died January 5, 1984. I still haven't met him as in talk to him. I did get very close at the free show in Atlanta!

Lisa

 28 
 on: February 17, 2019, 07:46:36 am 
Started by bss794 - Last post by peaceearth2018
Thank you John for a most excellent show Fri Feb 15 at the Peoria Civic Center. I played The Authority Song in a band in Columbus Ohio in 1981. I didn't really follow your music much until this last year when I've rediscovered you and the good music you've made in this last 20-30 years. Thank-you for being one of the few artists along with Neil Young and Don Henley that is not afraid to speak out about the continuing injustices in our society. I hope it connects with today's generation and they carry forward the torch of open and free thought. Good luck with the rest of this and future tours!

 29 
 on: February 17, 2019, 06:51:03 am 
Started by dreamweaver - Last post by Jgmanns81
Pink houses slightly over crumblin down both iconic

 30 
 on: February 17, 2019, 06:49:16 am 
Started by johnfrombrm - Last post by Jgmanns81
Sorry dane love ya but kenny

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