|
Post by oregonchickfan on Apr 19, 2015 19:15:15 GMT -8
Quote by oregonchickfan: Sad to think they are pricing "real people" out of these events, because the way ticket prices are going, you may need a Swiss bank account the next time around (IMHO). Very true. Fortunately, Garth and Trisha kept ticket prices "affordable". All tickets were about $75, including fees. I was lucky enough to have my seat five rows from the stage! It's possible that someone else who had a ticket in an upper section may not agree that the pricing was fair. Dierks Bentley will be here soon, and I think his tickets start around $80, with fees. So, in comparison, I feel like Garth & Trisha's tickets were very affordable.
|
|
|
Post by erik on Apr 20, 2015 6:17:01 GMT -8
Quote by oregonchickfan:
If the show was worth it, then you really couldn't ask for more. I had seen Linda here in L.A. at the Universal Amphitheater in July 2006, and paid $87 for a seat just four rows back from the stage. It was more than worth it, especially for the memories, because it was my third and last time seeing and hearing her live (the other two were in May 1995 and July 2004).
But one place I would never go to see a concert is in a sports arena/stadium. Maybe Natalie was cracking wise in SHUT UP AND SING when she said "Arenas or nothin'", but those places are, in my opinion, the worst places for concerts, unless the artists/groups are primarily about spectacle.
|
|
Ross
Teen Chick
Posts: 699
|
Post by Ross on May 13, 2015 11:47:12 GMT -8
Recently seen Lang Lang and Laura Marling.
|
|
|
Post by erik on Jun 21, 2015 9:46:28 GMT -8
Last night was opening night on the 2015 summer season at the Hollywood Bowl:
Hollywood Bowl Orchestra Thomas Wilkins, conductor
Youth Orchestra of Los Angeles (YOLA) Los Angeles County High School for the Arts Choir
JOURNEY
The night, which remained warm for the entire two-hour, fifteen-minute extravaganza, began with Wilkins and the orchestra performing "Silver Fanfare" by the Los Angeles-based composer Peter Boyer.
The big shock of the night was to have the band that was being featured--none other than a band that you either love or despise, depending on your tolerance for arena-rock anthems: JOURNEY. They performed many of their hits, including, at the end, the ubiquitous (and downloaded 5.4 million times) "Don't Stop Believing", with pyrotechnics being shot off during "Anyway You Want It". And all of them were done for the first time in the band's history with orchestral backing provided by the Hollywood Bowl Orchestra and the Youth Orchestra of Los Angeles (YOLA), with the Los Angeles County High School for the Arts Choir (based on the campus of Cal State Los Angeles).
Journey itself had found someone to replace Steve Perry in the lead vocal role, namely the Filipino-born Arnel Pineda; and he did a fairly good job of doing the songs that the band had done between 1978 and 1983 under Perry, but at a key one octave lower than what you hear on the radio. Now folks, I'm not exactly a fan of this band (I have to switch stations when "Don't Stop Believing" comes on, because it has been played to death on the radio [IMHO]), and because they are a hard-rock band, the decibel level even in the open-air of the Bowl itself was up there close to 100. Still, this was all for a great cause (as those who live overseas might already know, art and music tend to get The Shaft from the powers-that-be in this country); and it was a fine way to start this summer season in the hills of Los Angeles.
|
|
|
Post by erik on Jul 15, 2015 5:57:03 GMT -8
Last night was all about Rachmaninoff at the Hollywood Bowl:
Los Angeles Philharmonic Orchestra Bramwell Tovey, conductor Garrick Ohlsson, piano
Rachmaninoff: PIANO CONCERTO NO. 3 Rachmaninoff: VOCALISE Rachmaninoff: SYMPHONIC DANCES
British conductor Bramwell Tovey was on the podium last night for this all-Rachmaninoff affair. Garrick Ohlsson held down the reins at the Steinway for the composer's mercurial D Minor concerto, a typically virtuoso affair, complete with a fairly brooding opening, and some extremely cascading piano parts that, the larger orchestration aside, have some of the feel of Brahms' own D Minor piano concerto. The work climaxed with a grandiose, high-calorie Romantic finish.
Following intermission, the orchestra was scaled back significantly for the composer's 1915 work "Vocalise", essentially a song without words but here scaled for a small orchestra. Short as it was, only six minutes in length, it is a very elegiac work; and the orchestra and Tovey were up for the work's subtleties (and subtlety is not usually something one thinks with Russian composers in general, and Rachmaninoff in particular). The final work, the 1941 "Symphonic Dances", which was the composer's last major work, was given a robust, energetic performance by the orchestra for its 35-minute run, from its opening movement (with its main motif harking back to the Badinerie of Bach's Orchestral Suite #2), to the off-kilter waltz that is the second movement, and the fierce final movement with its echoes of the ancient Gregorian chant "Dies Irae" (Day of Wrath) that the composer frequently quoted from in his past works.
A fair amount of the impact of these works was enhanced by the fact that a cool breeze came into the Bowl area following intermission, though it could hardly have ever felt like a bracing Russian winter in Southern California in July. All in all, this all-Rachmaninoff program was a winner.
|
|
|
Post by erik on Jul 17, 2015 5:57:06 GMT -8
It was all about Beethoven last night at the Hollywood Bowl.
Los Angeles Philharmonic Orchestra Bramwell Tovey, conductor Martin Chalifour, violin
Beethoven: OVERTURE TO "EGMONT" Beethoven: VIOLIN CONCERTO Beethoven: SYMPHONY NO. 6 (PASTORAL)
Bramwell Tovey once again took the podium, this time for an all-Beethoven affair under the stars, and a cool breeze that caused the jackets to come out before the concert had even started. The opening was the overture that Beethoven had composed for his incidental music to Johann von Goethe's melodrama "Egmont", which spoke to the composer's ideas of freedom from tyranny (in this case the struggle to save the Netherlands from domination by Spain in the late 16th century). It is one of Beethoven's most popular overture, aside from the rest of the incidental music (which, in its complete form, can be found on numerous recordings).
Following a short break for orchestral reconfiguration, the orchestra's principal concertmaster Martin Chalifour came out to be the soloist in the "Mount Everest" of all violin concertos, the composer's D Major concerto, which opened with the four taps on the timpani. Chalifour navigated through the twists and turns of this 45 minute-long work without too much difficulty, especially in the finale (the violin cadenzas he used were elaborated upon by Fritz Kreisler). The slow movement, which proceeded into the vivid finale without pause, was also a high point because of its decided subtlety.
After intermission, Tovey came back to introduce the composer's great hymn to nature, the Pastoral Symphony (#6), and how the various instruments functioned in depicting avian life in the composer's tapestry of life in the open landscape outside of Vienna in the early years of the 19th century, rent with flowing brooks, the gathering of villagers, a summer storm (trombones, timpani, and piccolo were in this section), and the final Shepherd's Song. The work's tranquil end, as Beethoven depicted the end of the day, was roundly applauded for the virtuosity that the orchestra's principal wind players showed. It is also important, as Tovey said in the introduction, to remember that Beethoven, when he composed the Pastoral Symphony in 1806, was now increasingly only able to imagine all of this because he had lost more than 70% of his hearing.
Another great night was had here in the secluded hills of Los Angeles.
|
|
|
Post by DCXMMXVI on Jul 22, 2015 18:40:05 GMT -8
Girl's Night Out, Boys Can Come Too tour.
Colbie Caillat, Christina Perri, and Rachel Platten (Fight Song.)
It was awesome! Colbie is my favorite of the three, but Christina had the best stage presence.
|
|
|
Post by erik on Jul 24, 2015 6:00:59 GMT -8
Last night at the Hollywood Bowl was an interesting combination--two works by a contemporary American composer, plus what is arguably the most popular choral work from the 20th century
Los Angeles Philharmonic Orchestra Gustavo Dudamel, conductor Joelle Harvey, soprano Lawrence Brownlee, tenor Brian Mulligan, baritone Los Angeles Master Chorale (Grant Gershon, choral director) National Children's Chorus (Luke McEndarfer, choral director)
Eric Whitacre: HER SPIRIT SOARS (L.A. Master Chorale, a capella) Eric Whitacre: EQUUS (orchestra only) Carl Orff: CARMINA BURANA
Music director Gustavo Dudamel took to the podium last night for this eclectic bill of fare. The first two works on last night's program were by the contemporary U.S. composer Eric Whitacre. The first, with just the L.A. Master Chorale singing, was a spiritual a capella work called "Her Spirit Soars", which featured some very fugal choral writing and an approach resembling something of what Vaughan Williams' famous violin-and-orchestra work "The Lark Ascending" might sound like if done in this fashion. The second was a pure orchestral piece called "Equus" (the Latin word for Horse), which was described by Mr. Whitacre as a "moto perpetuo" and "dynamic minimalism". Both works were well received by the 11,000 or so in attendance; and following the end of "Equus", Dudamel had Mr. Whitacre come onstage to receive the plaudits from the crowd. Due to the shortness of both works, we reached intermission just 30 minutes into the night, which by this time saw a lot of people, including myself, put on jackets or coasts; the sea breeze had begun to cool things off.
Following intermission, the choral and orchestral pallet was, needless to say, expanded to include our three vocal soloists, and a huge battery of percussion, and with the National Children's Chorus joining the L.A. Master Chorale, for Carl Orff's hour-long "scenic cantata" "Carmina Burana." Much used (especially in movies such as 1981's EXCALIBUR), the work is full of imagery, ranging from pastoral to gothic to graphic, in a way that very few works in music history, even the turbulent 20th century, ever were. It was book-ended by the always-popular "O Fortuna"; and thanks to the Bowl's much-improved amplification and sound systems, it actually made even the concrete surfaces of the seating areas seem to vibrate just a touch.
The explosive end of "O Fortuna" bought the crowd to its feet to applaud the choruses, the orchestra, and the night's vocal soloists (including Ms. Harvey, who often reached for notes in her solo passages that would make even Mariah Carey blush), and bought to an end another great night of music underneath the stars.
|
|
|
Post by erik on Aug 12, 2015 6:03:33 GMT -8
One of our nation's great violinists (and now conductor of the Academy of St. Martin In The Fields), Joshua Bell, was on the stage of the Hollywood Bowl last night.
Los Angeles Philharmonic Orchestra Joshua Bell, conductor/violin
Mendelssohn: HEBRIDES OVERTURE (FINGAL'S CAVE) Bruch: VIOLIN CONCERTO NO. 1 Beethoven: SYMPHONY NO. 7
Mr. Bell led off the proceedings with the L.A. Phil, conducting the orchestra from the violin section Mendelssohn's "Hebrides Overture", which was inspired by a visit the composer made to Scotland in 1829, and felt the rainy, overcast weather of the Hebrides Islands and a mythical outcropping known as Fingal's Cave. The very chilly feel of this concert overture was enhanced by it being in the key of B Minor. The stormy passages were meant to be the waves crashing against the shorelines, and were well delivered by the orchestra.
After a minor pause, Mr. Bell came back on to lead the orchestra and do double duty as soloist in the Violin Concerto No. 1 (in G Minor) of Max Bruch, the most popular work of this particular composer, and a staple of every violinist's repertoire. It was a task for Mr. Bell to be doing practically two things at once, especially during the rigorous final movement, and yet he pulled it off. The first and second movements were performed by both orchestra and conductor/soloist (seemingly) without a noticeable pause.
Following intermission, Mr. Bell ascended the podium to take on one of the more fiercely rhythm-driven works in the standard repertoire, Beethoven's Seventh Symphony (in A Major). Conducting in the manner of Leopold Stokowski, who used his hands instead of a baton, Bell handled the imposing slow intro with panache, which then led to the dotted rhythmic pace of the main first movement. The second movement (not necessarily a slow movement, though it served its purpose here for Beethoven), a more somber affair in A Minor, was much more somber this time around (having gained familiarity in recent years by being used in movies such as KNOWING and THE KING'S SPEECH). The third movement's vigorous Scherzo was handled by Mr. Bell and the orchestra with exceptional skill, as was the explosive finale in the work's home key. The symphony itself was bought in at thirty-eight and a half minutes, though it almost seemed to move at warp speed in the finale.
It was an unusually loud and boisterous crowd of close to 13,000 at the Bowl, possibly because Mr. Bell is as well known as any violinist to have come along in classical music during the last forty years. And it was also another good night (which got cool in terms of the temperature before the concert's 8:05 PM start) under the stars.
|
|
|
Post by erik on Aug 19, 2015 5:55:04 GMT -8
Last night at the Hollywood Bowl, it was a complete, uncut showing of one of the greatest achievements in cinematic history: Los Angeles Philharmonic Orchestra Brad Lubman, conductor Los Angeles Master Chorale (Grant Gershon, choral director)
Richard Strauss: ALSO SPRACH ZARATHUSTRA (DAWN) Johann Strauss II: THE BLUE DANUBE Ligeti: KYRIE/FROM "REQUIEM" Ligeti: LUX AETERNA Khatchaturian: ADAGIO/FROM "GAYANE" Ligeti: ATMOSPHERESWith accompaniment by the L.A. Phil and the L.A. Master Chorale under Mr. Lubman, director Stanley Kubrick's 1968 sci-fi masterpiece 2001: A SPACE ODYSSEY was shown on the Bowl's big HD screens with all the inherent beauty, awe, mystery, and enigmatic musings intact. The epochal strains of "Zarathustra" mixed in with Johann Strauss' most famous waltz, and the very desolate all-string sounds of Aram Khatchaturian's "Gayane" adagio. The music of Gyorgy Ligeti, with "Lux Aeterna" being performed by the Chorale a capella, and the Kyrie from his "Requiem" performed by both the orchestra and chorale, was given an alien, even disturbing, resonance throughout an amphitheater that seemed deathly silent throughout a concert that, counting an intermission that came at the point where HAL is actually reading the lips of the astronauts (Keir Dullea; Gary Lockwood), lasted three hours. The final appearance of "Zarathustra" at the end, with the Star Child gazing longingly out at us, led to a huge standing ovation among a crowd that I would estimate was somewhere in the neighborhood of 12,000 to 17,000, while the reprise of "The Blue Danube" was superlative parting music. This was the first time I had ever seen a full-length film at the Bowl with the orchestral accompaniment; and since it was one of the most important and influential movies ever made (its impact is manifestly evident in recent films like GRAVITY and INTERSTELLAR), it was a great first time for me. Pictures from the concert: The opening: The scene in which Bowman (Keir Dullea) finds nothing wrong with the Alpha Echo 35 antenna unit and begins to question Hal's reliability: The final scene--the Star Child staring longingly at us:
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Aug 26, 2015 20:08:49 GMT -8
Alison Krauss & Union Station
|
|
|
Post by erik on Sept 5, 2015 15:26:59 GMT -8
On August 18th, it was all about 2001: A SPACE ODYSSEY at the Hollywood Bowl. Last night, it was all about one of the many films that 2001 helped to make possible-- E.T.: THE EXTRA-TERRESTRIAL. Los Angeles Philharmonic Orchestra David Newman, conductor
John Williams: E.T.: THE EXTRA-TERRESTRIAL (with the complete film being shown)Due to scheduling conflicts, for the first time since 1978, Williams could not be at the Bowl to conduct the L.A. Philharmonic as has been his usual once-every-summer thing. But in his place was a member of Hollywood's long-standing move-scoring dynasty, David Newman, who had actually played violin in the original recording sessions for the score. Williams' score was faithfully re-produced under Newman's and the orchestra's hands while director Steven Spielberg's 1982 sci-fi masterpiece was shown in its complete glory on the Bowl's five HD screens. As with 2001, it is sometimes easy to neglect the visual splendor of E.T., spoiled as we've become with CGI in many of the films made in the last quarter century. But the emphasis is on its fairly modest story, of a boy named Elliott (Henry Thomas) befriending an alien being accidentally left stranded on Earth; and despite the fact that it was released 33 years ago, it hadn't aged all that much. There were many priceless moments of high comedy (including Drew Barrymore's freakish introduction to E.T., which had many in the Bowl rolling in aisles with laughter, and her later comment about E.T.'s eating habits ["Is he a pig? He sure eats like one!"]), as well as suspense (the opening ten minutes, much of which Spielberg shot from the POV of E.T. and his alien friends), and, of course, Elliott's and E.T.'s flight across the Moon, and the poignant farewell at the end. The crowd looked to be of the same size as it was for the 2001 concert of August 18th, between twelve and seventeen thousand. Williams did appear in a pre-concert video to introduce the film and the score; and then it was off to the races. Intermission came right as the flight across the face of the Moon ended; and the expected applause at the end echoed through the Bowl amphitheater. It was another incredible night (my next-to-last concert for this summer), and the second of two straight times of a complete film being shown under the stars in the hills above L.A. Some pics from the showing: The opening title: Elliott's and E.T.'s flight across the face of the Moon: The final sequence (E.T. and Elliott say goodbye):
|
|
|
Post by eaglemaster on Sept 6, 2015 22:28:14 GMT -8
Erik, this sounds very romantic...
|
|
|
Post by erik on Sept 7, 2015 6:04:56 GMT -8
Quote by eaglemaster:
In a very real sense, it was indeed romantic, as both this and the 2001 concert were literally under a canopy of stars. Because the Hollywood Bowl is situated in a literal bowl surrounded by trees, the light pollution from nearby Highland Avenue and the Hollywood Freeway doesn't interfere too much with the ambience or the concert-going (and, in these last two cases, movie-going) experience.
|
|
|
Post by erik on Sept 9, 2015 6:11:43 GMT -8
My eighth and final trip to the Hollywood Bowl for the summer of 2015 was a diverse one, and with some new blood on stage.
Los Angeles Philharmonic Orchestra Lahav Shani, conductor Khatia Buniatashvili, piano
Glinka: OVERTURE TO "RUSLAN AND LUDMILA" Rachmaninoff: RHAPSODY ON A THEME OF PAGANINI Dvorak: SYMPHONY NO. 9 (NEW WORLD)
The young Israeli-born conductor Lahav Shani, who has served as an assistant to Zubin Mehta with the Israel Philharmonic, was on the podium on what was the warmest night of the eight times I have been to the Bowl this year. The concert began with the headlong rush of the overture for the first true Russian opera, "Ruslan And Ludmila", by Mikhail Glinka (from 1842). If Prokofiev's Classical Symphony could be best described as Mozart's Prague Symphony on cognac, then the "Ruslan And Ludmila" overture can just as easily be equated the same way with respect to the "Marriage Of Figaro" overture, only with larger orchestration (three trombones).
Following a brief pause, the Georgian-born pianist Khatia Buniatashvili came out to perform perhaps the single most popular work for piano and orchestra composed in the 20th century (and it's not even a concerto, per se), the famous "Rhapsody On A Theme Of Paganini" that Sergei Rachmaninoff composed in 1934. This is one of those works that can be sweat-inducing for any soloist, especially on an extremely sultry and sticky night as last night was. Fortunately, this didn't prove too much of a problem for Ms. Buniatashvili, who handled this 25-minute work with non-stop panache, especially in the very lush 18th variation, and the various iterations of the famous Gregorian chant "Dies Irae" that weaved its way through this work (and many others of Rachmaninoff's).
After intermission, it came down to the ultra-popular "New World" Symphony (#9) of Antonin Dvorak, written during his stay here in the U.S. in the mid-1890s. The imposing work, which mixed elements of his native Bohemia with the elements of indigenous Native American music, was well-handled by the L.A. Philharmonic, which has had this work in its blood from its inception as an orchestra in 1919. The famous Largo (with its "Goin' Home" melody performed solo on the English horn) could have served as an elegy to the victims of 9/11, while the Scherzo and the imposing final movements were a basic summation of what Dvorak had wrought while on foreign soil, and how he may very well have helped spawn the revolution of American music that took place in the 20th century.
And so, this puts a wrap on things for me for the Hollywood Bowl in 2015.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 17, 2015 14:05:59 GMT -8
Finally got to see Patty Griffin in Dublin last week..phenomenal
|
|
|
Post by drizzletown on Sept 19, 2015 10:46:01 GMT -8
Heart --- Last night No Magic Man. Something like this: Kick It Out Heartless Straight On There's the Girl These Dreams Mona Lisa's & Mad Hatters Dog & Butterfly What about Love Alone Even It Up The Witch Dear Old America Extended COY intro Crazy On You Barracuda Immigrant Song Floyd (Dogs?) Zeppelin (don't remember) Highlight was Mona Lisa's, the little bit rockin' version of There's The Girl (haven't heard that since '87?), and Ann's vocals on everything, the bluesy sort-of version of What About Love stands out.
|
|
|
Post by myfavoritegirls on Sept 23, 2015 10:50:02 GMT -8
Back in July my husband, son, and I got to see Linkin Park and A Day to Remember. I'm a big fan of LP, and my son's favorite band is ADTR. So I was looking forward to this one all summer.
And they didn't disappoint! Linkin Park is ridiculously good. They sounded as good live as on records. This was my first LP concert and now I'm hooked for sure. Looking forward to their next tour. I'm only sad that I waited this long to see them.
ADTR was excellent and the perfect opener for LP. I've heard most of their songs, not because I'm a fan, but because my son plays their music all the time. Well, now I'm a fan after seeing them perform.
|
|
|
Post by DCXMMXVI on Dec 4, 2015 7:25:38 GMT -8
Saw Leann Rimes last month. She was great! She has such a sweet, bubbly personality. She sang happy birthday to a woman in the audience. She talked to a little boy, whose parents said it was his first concert. He'll have the memory forever. She sounded really good live. But she didn't do her 'post-affair' affair song "Borrowed." I LOVE that song! Ugh.
I'll be seeing Garth and Trisha tonight! It just dawned on me a few minutes ago. I will have seen Leann and Trisha within less than 2 weeks apart. I'll be hearing "How Do I Live" by both women that made it popular back in 1997. That's pretty awesome! I'll let y'all know how it is!
They did their first of 6 shows here in Wichita yesterday. I heard great things. But then again, I always hear great things about Garth's shows.
|
|
|
Post by DCXMMXVI on Dec 4, 2015 21:08:50 GMT -8
Just got back from the Garth/Trisha show. When I got there, one of the workers walked down the line to tell us to have everything from our pockets removed. He walked up to me and told me that my camera wasn't allowed. He said it was a 35 mm camera, whatever the hell that means. Well, I wasn't going to walk a mile back to the car, so I decided to find a place to hide it until after the show. Luckily it was still there afterwards. There was a group of 8 idiots sitting in the row behind me. They spent the entire night yelling and cussing and getting drunk. They did all of those things because they already saw the show in Omaha. They were just there to get wasted. Seems to me like they could have saved several hundred dollars by just going to a bar. Those of us sitting near them, however, were there to see the show. They would say things like, "I bet Trisha gives him blowjobs every night," or "Garth has a thing for chubby white girls," (regarding the girl performing during opening act.) They spilled beer several times, sometimes on the floor, and sometimes on those of us that were unfortunate enough to be close to them. He spilled beer on the woman next to me twice, once on me, and once on the woman's husband. We were all pissed. And now my car smells like beer. Barf. But, I must say, none of the above ruined the night. That's how good the show was. But it wouldn't have killed Garth to perform "More Than a Memory." Unless he performed it during his second encore, after I left.
|
|
|
Post by DCXMMXVI on Dec 12, 2015 13:03:11 GMT -8
Got tix for Kacey Musgraves in March, and tix for Josh Groban/Sarah Mclachlan for August. That will make 3 trips to KC so far for 2016, and 4 total concerts. I like to go to at least 5 concerts per year. 2016 will be very exciting.
I've already seen Kacey and Sarah. But Kacey has released an album since I saw her in 2014, and Sarah is someone who I wouldn't mind seeing every year for an eternity.
|
|
|
Post by DCXMMXVI on Jan 23, 2016 10:32:22 GMT -8
Just got the very last remaining cheapy ticket to Willie Nelson and Merle Haggard at Hartman Arena, about 30 minutes N of Wichita. The rest of the tickets available are at least 86 bucks, not including those bogus fees. I feel very fortunate. I like Willie, but I wouldn't want to see him if the price isn't right. This makes 5 shows for 2016. As I stated above, I try to see at least 5 shows per year. Anything else is just gravy. BTW, it will be interesting hearing Merle sing Okie From Muskogee, what with Willie Nelson being there. Har har... I made that same joke on Facebook. I'm assuming all of my FB friends laughed their butts off, but just forgot to type "lol" in the comment section...XD
|
|
Ross
Teen Chick
Posts: 699
|
Post by Ross on Feb 17, 2016 7:25:47 GMT -8
Jason Isbell
Palmetto Rose Stockholm Something More Than Free Decoration Day Alabama Pines Traveling Alone The Life You Chose Outfit Tour of Duty Dress Blues 24 Frames Cover Me Up Relatively Easy If It Takes a Lifetime Speed Trap Town Never Gonna Change Children of Children
Encore: Elephant Codeine
|
|
|
Post by DCXMMXVI on Mar 27, 2016 11:06:25 GMT -8
Saw Kacey Musgraves for the 2nd time earlier this month at the Midland theatre in Kansas City, MO. She was even better than she was on her last tour! I'll be seeing her again later next month. I love her personality! She's got a bit of a sailor's mouth, which I love, and, of course, she has 2 albums filled with amazing songs. I bought a ticket for my grandma, and now she's a super fan. XD
I saw Patty Griffin, Sara Watkins, and Anais Mitchell last night at the Historic Fox Theatre in Hutchinson, KS last night. GREAT show, and great seats. Patty didn't do any of my personal favorites of hers, like "Not Alone," and "Top of the World," but it was still a great set list. Sara of Nickel Creek has an album coming out in July, and she performed a song from it on stage for the very first time, which was really cool. I loved seeing her playing the violin. The 3 of them up there almost looked like the Dixie Chicks. I'd say it was the best show I've seen so far in 2016.
|
|
|
Post by oregonchickfan on Mar 29, 2016 0:48:15 GMT -8
According to Facebook, one year ago today, I saw Garth Brooks & Trisha Yearwood in Sacramento. Sadly, I haven't been to a concert since. Next up, the Chicks on July 9th.
|
|