Never undervalue nostalgia’s influence.
Summer amphitheatre tours are typically planned events that feature bands from the same genre and time period.
Fans of ’80s music will especially appreciate The Letting it Go Show, which includes Boy George and Culture Club, Howard Jones, and Berlin. This is mainly due to the fact that all of the performers continue to provide potent selections of deeply ingrained songs. They received a rich collection of musical memories as payment.
Here are some of the show’s great points as well as the artists’ condensed set lists.
An audience of all ages patiently anticipated the trio of performers at Jiffy Lube Live amphitheatre in Virginia on Friday, a few weeks into the tour that will conclude on August 20 in Concord, California, following a protracted lightning delay.
Terri Nunn, a 62-year-old Berlin expert, greeted the enthusiastic crowd with outstretched arms. The audience was grateful to see the band and relieved that the event had begun after a roughly 90-minute wait.
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Berlin was regrettably obliged to do their set quickly, just playing four songs in 20 minutes.
The five musicians on stage, including founding member John Crawford and guitarist David Diamond from the 1980s, were aware of the time constraints and jumped right into the New Wave splendour of “No More Words” and “The Metro,” with their cascading synthesisers still evocative and their melodies imprinted in listeners’ minds.
Longtime fans of the band were likely thrilled to see Crawford and Nunn stalk each other on stage while performing “Sex (I’m A…),” adding additional heat to an already hot night.The genial keyboard master gave his audience a clear directive at the beginning of his performance: “We play with total energy, and you sing every song,” he stated.
Jones, 68, bounced about a number of neon-glowing poles placed around the stage with the support of a four-piece band that featured interesting bassist/Chapman stick player Nick Beggs. At times, Jones would bend over his synthesiser, other times he would seize the mic for an eloquent note.
The reworked piano version of “New Song” featured Jones, who was in excellent shape in his upper register and who played several lengthy notes seemingly effortlessly. The song still sounds fresh and youthful at 40 years old.
Throughout his 30-minute show, Jones was courteous and personable, but he hid his happiness for his plaintive ballad, “What is Love?,” which he gave pathos as it developed into a dramatic wall of keyboard and electric guitar noise and finished on a literal high note.
With “Things Can Only Get Better,” Jones concluded his succinct set. The audience enthusiastically sang the “whoa, whoa, whoa-oh-o” chorus as Jones grinned his way through the upbeat jive.
