Rush (ACC, Oct 16/12)

Only a couple years removed from their last tour, Snakes and Arrows, Toronto's favourite three-piece were back to rock the ACC. Geddy welcomed us as his neighbours not just in words but with a nearly three hour show. Despite shying from the bigger hits, and definitely shining a spotlight on the new album, I doubt there was anyone in attendance who was disappointed in the spectacle. And spectacle it was! From the top the trio came out playing The Suburbs and carried on with Big Money, exhibiting not only Geddy's signature squeal but  some dandy work on the keys as well. Personally I found the remaining stretch of the opening act the weakest part of the night but that's probably just my ignorance of the deeper cuts they played. There was still plenty to take in as the contraptions on stage, a steaming, popcorn-popping machine were intriguing (as was the sequence when the two ladies came out and helped themselves to some popcorn and before walking across the stage, never to be seen again). Then there's Neil's drum set which is a sight to be seen on it's own - encapsulating him in 360 degrees of drums, cymbals and cowbells. Now have one of the greatest drummers perform on it, especially a solo, and there's entertainment value. Alex and Geddy keep it relatively simple, besides their rather complex effect pedal boards.

The video segments to open and close the acts were rather hokey although the nods to their catalog, Closer to the Heart doorbell chime and 2112 take-a-number, were cute. However the core of the concert, the music, definitely met its mark. The second act was filled out further as 7 violinists and a cellist took to a raised platform behind the band and really swirled in a new dimension of sound. This was actually the Clockwork Angels section, the critically praised most recent release, and I agree that it is a doozy. It has a full, rocking sound and the guitars are especially crunchy. Despite a lack of familiarity the crowd still seemed to really be enjoying it (I know I was). The first handful of tracks including Caravan and its big, old dirty guitar solo. The title track and The Anarchist were great as well. Adding to the scene were the explosive indoor pyrotechnics that were going off so quickly and sporadically during one song's finale that you wouldn't have known if anything had gone wrong. Luckily everything was going right through The Wreckers. The next couple lost some steam, and Alex's smoky solo seemed somewhat uninspired but they closed it nicely with the slightly slower Garden and its twangier guitar sound (and Alex on keys for a few moments too). Once Clockwork Angels was over the strings were soon dismissed in time for Neil to lay down another drum solo - this time on his secondary set (that spun around to be in front of him) which included an electronic pad and a bunch of cowbells.

Standout moment of the night came as they launched into YYZ and one can feel how special it is for a band of this age to be playing at this caliber - still so tight and still so passionate. Being instrumental, and nearing the end of the night, Geddy and Alex were able to roam the stage (as a couple of gnomes came out to wander around too). It was just an awe-inspiring display of musicianship.

Following up was The Spirit of Radio. The spirit of the fans could be heard in the roar for an encore that came quickly after it and the band returned nearly as quickly. Tom Sawyer was no slouch either but the ultimate closer came in a few movements of 2112 that had the whole concert hall moving as well - air drumming and fist pumping as we had been all night. What a Rush!

Van Halen with Diamond Dave, Kool & the Gang (ACC, March 17, 2012)

Without too much pomp or circumstance today's line up of Van Halen took to the stage led of course by the way-back-when original and inimitable singer Diamond Dave. His namesake obviously stemming from his fashion choices (or vice versa?) as he shone in a diamond studded jacket and matching diamond trimmed pants. These didn't stop him from sliding across his special dance floor or popping high kicks throughout the set, albeit not always making it look like the most natural of activities for this aging rocker. Forget the fashion and get on with the music!

They did 'hit the ground running' playing Unchained into Running' With the Devil right off the top to bring us all around early. These classic riffs stemming from Eddie's axe send waves of excitement, especially at arena rock decibel levels. They played a few deeper cuts through the night and even tossed in new single Tattoo that prompted Dave to stop twirling his mic stand and pull his pants down to reveal some unidentifiable tattoo on his hip/ass.

Breaking up the set were some classic covers, first Orbison's Pretty Woman was given the rock treatment then following a Caribbean-influenced drum solo from Mr. Van Halen, Alex, they did the Kinks' You Really Got Me. Eddie wasn't to be outdone by his brother and dropped a screeching solo on this tune with his signature-paint-job bearing guitar. Also in the current line up is Eddie's son, Wolfgang, doing a fine job keeping it in the family tending to bass duties and joining his father in great sounding backing vocals on many tunes like Beautiful Girls.

Despite all the well-documented drama from the band, Eddie and David Lee Roth seemed to be getting on just fine as they cracked smiles and shared laughs while performing Dance the Night Away. Alex reared his head for that recognizable Hot for Teacher drumming to which Dave pranced around the stage in a similarly studded Asian kimono cape of sorts before inexplicably taking five minutes alone on stage holding an acoustic guitar (only instrument he'd play all night) to show a video of his dogs rounding up livestock and then pandering for a cheer linking dog-lovers to VH. Huh?

The band thankfully returned after this to finish the set in style. At the end of an appreciated Panama Dave exited, leaving the fam jam that then cleared the way for Ed's solo. Hands-down the favorite part of the night and one of the best elements of any concert going, Eddie began working his wonders while seated on the steps on stage and proceeded to carry on for a whopping 8 minutes of mind-blowing guitar, working the whammy bar, picking up and down the neck, and twisting knob effects too. Astounding! The inclusion of the Eruption lick didn't go unnoticed either.

I didn't want the solo to end but it did anyway as the crew returned to scorch Ain't Talking 'Bout Love and say goodnight. Not even bothering to leave the stage they agreed to do one more, almost as obvious as Celebration (see below), and with a hundred kilos of confetti Jump certainly was a celebration.

Kool and the Gang

Everyone agrees it an odd marriage having Kool and the Gang opening for Van Halen. Besides perhaps a similar time of emergence they don't share much in common sonically. The support band did their best to win over the ACC crowd that were finding their seats during Ladies Night. A large contingency of them, including a brass section, brought us Get On Down. It wasn't exactly rocket science to figure they'd wrap with Celebration - the only question besides 'is that the original Kool?' was whether he and his Gang were recycling the choreographed dance moves that originally accompanied these songs in the days of funk and disco.