Concert review: Aerosmith unleashes blistering rock in Atlanta By Melissa Ruggieri There is something comforting about an Aerosmith concert. Yeah, there is some wear on the bodies and lines on the faces. But as long as Steven Tyler and Joe Perry rise from under the stage in a cloud of dry ice and guitar chords, all seems right in rock ‘n’ roll. The Beantown boys returned to Philips Arena Thursday night – they last visited in 2012 – and for a robust 18 songs, they solidified the notion that after almost 45 years, they still want to prove that they’re the best American rock band performing. Indeed, it’s notable that the original lineup of the Toxic Twins (though no longer substance-reliant, Tyler sported a black wristband etched with the word “TOXIC”), guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer – recently returned from a heart issue – are still pounding out the hits they created. No imitations here. And, really, how could anyone but Tyler, with his flowing scarves, rubbery knees, portable mic stand and joyful yelps, ever front this crew? At least the rest of Aerosmith sensibly decided against trying to replace Tyler when he detoured to “American Idol” for a couple of years. Early in Thursdays show, he gave fans a jolt with the “Yeowwww!” that punctuates “Love in an Elevator” and, as Perry and Whitford sparred on guitar, Tyler rolled on the stage floor, sticking his trademark big mouth in the camera lens. While an Aerosmith concert is of minimal frills – stacks of amps, one adorned with an American flag, lined the back of the stage under a massive screen – the band does provide fans with enough lights and lasers to keep things interesting. Perry, who tossed out leads and solos with grace and grit, and Tyler spent a good portion of the show roaming a catwalk that jutted into the floor seats, their hair swept in a windstorm created by industrial-size fans. While Tyler offered some impressive caterwauling on the woozy stoner rock of 1977’s “Kings and Queens” and the bluesy wailer “Cryin’,” he received a heavy assist from touring keyboardist Buck Johnson on high harmonies for “Livin’ on the Edge.” Many times during the nearly sold-out concert, Tyler and a thin-looking Perry, in black and red, his shirt unbuttoned to his waist, assumed their customary rock star poses of standing back-to-back or with an arm slung around a shoulder. It’s always fun to watch the pair fused at the mic for the vintage bulldozer “Toys in the Attic” and when Perry took the spotlight for “Stop Messin’ Around,” a ferocious cover of the Fleetwood Mac (the early years) song, Tyler wasn’t too far away as he plopped on Kramer’s drum riser with his trusty harmonica. But Tyler did cede center stage long enough for the incredibly fluid Perry to unleash a guitar solo played behind his head and on his knees. Of course, even with the inclusion of classics such as “Dude (Looks Like a Lady),” “Mama Kin” and “Sweet Emotion,” there is a faction of Aerosmith fans who still bristle at the first swelling note of “I Don’t Want to Miss a Thing.” Not only did it mark a commercial landmark for the band – it’s their only No. 1 Top 40 hit, another stat to make longtime devotees shudder – but as power ballads go, it’s a beauty. And live, Tyler’s escalating shrieks shrouded the song with enough sandpaper to make you momentarily forget that it was written by pop songwriting goddess Diane Warren. In a recent interview with the AJC, Perry mentioned that he’ll likely be on the road next year with “some kind of band,” a reminder that most of the guys have moonlighting gigs beyond the beast that is Aerosmith. All the more reason to appreciate them when they’re around. Opening the show was fellow guitar luminary Slash with Myles Kennedy and the Conspirators, who played an hour-long set of originals and Guns N’ Roses staples. Slash’s finger-blistering solos ripped apart “You’re a Lie” and “Nightrain” as he whirled in a circle with his left leg pumping. Kennedy – former singer for Alter Bridge – is a capable shrieker, especially when emulating Axl Rose’s guttural snarl. But he isn’t the fieriest of frontmen, which caused the set to droop in places. It was actually bassist Todd Kerns, with his vampiric features and visceral rocker presence, who engaged the crowd by pointing fingers, throwing picks and adding robust backing vocals. The band was taut on the new melodic rocker “World on Fire” and Slash’s playing on double neck guitar during the groove heavy “Anastasia,” as the sound veered from classical to Middle Eastern-tinged to straight-up rock, was wondrous. But it was the note-perfect renditions of “Sweet Child O’ Mine” and “Paradise City” that stimulated fans to pump fists and sing along – remnants of Slash’s past that he’ll never be able to escape, even if he wanted to try. accessatlanta/weblogs/atlanta-music-scene/2014/aug/29/concert-review-aerosmith-unleashes-blistering-rock/
Posted on: Fri, 29 Aug 2014 11:29:11 +0000
Trending Topics
Recently Viewed Topics
© 2015