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10cc, London Palladium review - still firing rubber bullets 50 years on | reviews, news & interviews

10cc, london palladium review - still firing rubber bullets 50 years on, graham gouldman is the last man standing in his own excellent tribute band.

What a remarkable band 10cc were. For most of the 1970s they made highly unusual pop that careered without a care between bubblegum and prog. Their ease migrating across style lines from Pythonesque japes to dense seriosity lay in the personnel: four bandleaders who all brought a sensibility to a democratic collective. The wackier half of the band departed in 1976, not long after their most soaring hit, written by the more mainstream half. Godley and Creme, seemingly, were not in love with Stewart and Gouldman, whose next big hit was “The Things We Do For Love”.

Their first hit – a falsetto doo-wop pastiche called “Donna” – was in 1972. Fifty years on the band still exists, and is out on tour playing all the hits and more. To be strictly mathematical it’s really 2.5cc these days. Graham Gouldman, 76 next month, is the last frontman standing. He’s become one of the “old men of rock ‘n’ roll” fondly imagined by 10cc in their twenties in “Old Wild Men”. He does his bit centre stage like an affable professor (retd) on the Caribbean cruise lecture circuit. He performs noodling bass solos, sings his bits in a growling baritone and modestly summons up the good old days.

Not that he’s surrounded by fresh-faced newbies. Paul Burgess on drums and Rick Fenn on lead guitar have been associated with the band since the 1970s - the former wears the luxuriant mane of the period by way of authenticating rubber stamp. (Much of the audience was of a similar vintage.)

The show which reached the London Palladium last night is a moreish oddity. The songs are gorgeous, the musicianship immaculate, the stagecraft polished. Yet there is a nagging sense that 10cc have morphed into their own tribute act, a classic car with an engine full of replacement parts. Other bands have patched holes in an original line-up and carried on regardless – Fleetwood Mac, serially; Queen, flagrantly. The difference with 10cc is everyone’s still alive and, seemingly, on speakers. Kevin Godley, who left with Lol Creme to make videos, even pops up singing “Somewhere in Hollywood” on an arty black and white back projection.

There is no attempt to deny that the departed members left huge shoes to fill. When Iain Hornal, much the youngest member of the current cohort, told a story about the composition of "Life Is a Minestrone", it was like listening to an eager young museum tour guide. He had a busy time of it. As well as playing a lot of instruments (although not as many as Keith Hayman on various keyboards and guitars), Hornal has two jobs in 10cc: tonight, Matthew, I’m going to be Lol Creme and Eric Stewart. With a sweet and soaring voice he pulls off the double mimicry with great skill.

It’s not easy reproducing authentic 10cc. Songs like “Feel the Benefit” and “The Second Sitting for the Last Supper” perform weird and sudden handbrake turns. “Say the Word”, Hornal’s own pastiche of the band composed with Gouldman, ended with an off-brand crashing chord, where the old songs so often concluded elliptically. “I’m Mandy Fly Me”, an elusive enigma of a love song, faded into silence and darkness.

From near the top of a show that contained 20 songs in all, the jagged “Art for Art’s Sake” and the jiving “The Dean and I” came up absolutely box fresh. When “I’m Not In Love” eventually arrived, lushly harmonised, the band were backlit so that the absence of 7.5cc was less of an issue. Instead we had to watch the screen behind featuring two young models in what looked like a slo-mo shampoo ad. Then came “Dreadlock Holiday”, the mock-reggae megahit which has a pub band vibe about it these days. For the encore, “Donna” was rendered a cappella like a barber shop quartet, before a climactic wig-out with “Rubber Bullets”. They're not all there, but 10cc's songbook, full of fun and love and rage, remains blessedly the same. 

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Gig review: 10cc – Bristol Beacon, 7 March 2024

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David Randall chatted to Graham Gouldman about his career.  First broadcast on Get Ready to ROCK! Radio, 12 August 2018.

I worked out it’s nearly fifty years since I last saw 10cc live, and this was at the height of their seventies fame. Whilst aficionados remain impressed with the later albums …Meanwhile, and the last gasp Gouldman/Stewart collaboration Mirror Mirror, it’s the core seventies repertoire that persists.

Ably helmed by founder member Graham Gouldman (since 1999) the band also features mainstays Rick Fenn and Paul Burgess who can trace their own lineage back to 1976/77 (1973 if you include Burgess’ time as a touring member). This adds a reassuring note of authenticity.

10cc have one of the greatest pop rock songbooks of the seventies. Most songs played tonight were instantly recognisable thanks to the regular TV and radio coverage they originally received and not least because they are great songs. They were supplemented with a more recent piece Gouldman wrote featuring Brian May and a song co-written with vocalist/guitarist Iain Hornal.  And ‘Ready To Go Home’ was a tribute to co-writer Andrew Gold with whom Gouldman collaborated as “Wax” in the late-1980s.

Billed as the Ultimate Ultimate Greatest Hits Tour. there were few surprises. The setlist was in fact almost identical to their October 2022 tour.

If this gig was then a very safe bet at the outset the repertoire was never in doubt and it was all executed perfectly. Perhaps too perfectly. The opening ‘Son Of Man’ video was impressive and the GG/06 grind may have even overshadowed what came next.

A live highlight ‘Art For Arts Sake’ was played early on and traditionally lends itself to an extended playout. That didn’t happen unfortunately and maybe two songs in the band hadn’t really warmed up. It was after all the first night of the tour. It would have been better placed after ‘Feel The Benefit’ a song which gave the band – erroneously – a progressive tag in some quarters .

In truth the band didn’t really come alive until the third encore ‘Rubber Bullets’ that also prised the audience from the newly refurbished seats at the one-time Colston Hall. Before that an acapella version of ‘Donna’ was sublime.

Along the way the setlist was peppered with pop history reference points but Gouldman is generous in his inclusion of songs he didn’t actually write including the somewhat bizarre ‘Clockwork Creep’ from ‘Sheet Music’.

The band’s version of ‘I’m Not In Love’ brought out the bossa nova style that was apparently present when the band first developed it whilst ‘Somewhere In Hollywood’ featured Kevin Godley on film reminding us that he and Lol Creme forged a healthy career in groundbreaking video production.

Iain Hornal shared lead vocal duties and at times brought a more West End show vibe to the delivery which was frankly a bit irritating. He lacked the soulfulness and sensitivity of an Eric Stewart akin to Tim Howar depping for Paul Young in Mike And The Mechanics.

What next for these seasoned troupers? The triple ultimate greatest hits tour?

Gouldman should be applauded for keeping the flame alive (and at the age of 77) but you can’t help thinking that this is a mellower iteration and that if Godley and Creme were on board there would be more grit in the mix.

Old Wild Men? Wait for the encores.

Review and photos by David Randall

Setlist: The Second Sitting For The Last Supper/Art For Art’s Sake/Life Is A Minestrone/Good Morning Judge/The Dean And I/Old Wild Men/Clockwork Creep/Feel The Benefit/The Wall Street Shuffle/Floating In Heaven/The Things We Do For Love/Say The Word/Silly Love/Somewhere In Hollywood/I’m Mandy Fly Me/I’m Not In Love/Dreadlock Holiday/Encore: Ready To Go Home/Donna/Rubber Bullets

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Liverpool Sound and Vision

Reviews from a small country, 10cc: philharmonic hall, liverpool. gig review. (2024).

Liverpool Sound and Vision Rating * * * * *

Ever the consummate professional, Graham Gouldman requires no introduction, the music he and the rest of 10cc created is understood from the first bar, and universally enjoyed; and once more the band of merry, and talented groove setters rolled into Liverpool as part of their Ultimate Ultimate Tour, and the result was one that was the sense of perfection, sweet, accomplished, complete and exact proof of the legendary status of the music, and of the longevity of spirit of those that created them.

Whilst the original line-up of Graham Gouldman, Eric Stewart, Lol Crème, and Kevin Godley have long since parted company in terms of performing together, the fact that the music is still readily performed, and still sounds as exceptional as it ever did, is testament to the belief and love that the audience had for the group and continues to do so.

Returning to the stage with Graham Gouldman was the erstwhile souls of Rick Fenn, Keth Hayman, Paul Burgess, and Iain Hornal, and in the wake of the extensive and fulfilling career defining box set 20 Years , what was in evidence once again to the devoted crowd was just how seriously the music is taken. There is rightly room for nostalgia, we need to be able to understand the words we sing along to with greater clarity for than ever; however, it is more than that when you see one of the true greats of song writing performing with comfort and dedication songs that were so against the genres that come to define the 1970s.

Neither glam nor punk, elements perhaps of the progressive, especially when the audience and considers tracks such as Clockwork Creep , but it is undisguised rock that catches the ear, simple, honest, an homage to the Beatles in the process, and as tracks such Art For Art’s Sake, Good Morning Judge, The Dean And I, The Wall Street Shuffle , the wonderful and bountiful track created with the universal guitar genius of Brian May, Floating In Heaven , a cover of Iain Hornal’s own Say The Word , and I’m Mandy Fly Me , all soared in the atmosphere of the Philharmonic Hall, so the respect for excellent musicianship and time honoured lyrics was undoubtedly felt in the heart.

A tremendously sincere and almost stately evening, one that Philharmonic Hall hosts with absolute reliance, and when 10cc take to the stage, so the sheer professionalism is given its space and rightful dignity.

Ian D. Hall

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10cc to Embark on First U.S. Tour in Over Three Decades

10cc 's pending Ultimate, Ultimate Greatest Hits Tour will bring the '70s hitmakers to America for the first time in more than three decades.

They're best known for "I'm Not In Love," a single composed by Graham Gouldman and Eric Stewart which reached No. 2 in the U.S. and No. 1 in the U.K. in 1975. 10cc hit the American Top 5 again in 1976 with "The Things We Do for Love," which was also composed by Gouldman and Stewart.

Gouldman continues to lead the group. Shows kick off in July at Montclair, N.J., with stops in New York City, St. Louis, Dallas, Los Angeles and San Francisco to follow through August. Meet-and-greet packages and VIP tickets will be available during pre-sale; visit 10cc.world to find out more. A complete list of announced dates is below.

READ MORE: Revisiting 20 One-Hit Wonders from the '70s

10cc emerged from the '70s boasting four consecutive gold-selling U.K. albums beginning with 1974's Sheet Music , but saw their momentum slow in the new decade. The band went dormant from 1983 through the '90s. But their songs lived on: "I'm Not In Love" featured prominently in the chart-topping soundtrack to 2014's Guardians of the Galaxy . "Dreadlock Holiday," a U.K. chart-topping hit from 1978, was also featured in 2010's The Social Network .

10cc built that kind of lasting appeal with timeless songs, Gouldman argues. "They don't seem to date," he said in an official release. "We never followed any trend; we simply wrote for our own pleasure. The fact that the songs are being played as often on the radio as they ever were shows how true that is."

Gouldman is the only founding member to appear on every 10cc project, but the current lineup includes two other legacy members: Drummer Paul Burgess initially came on board in 1973 as a touring member before officially joining in time for 1977's Deceptive Bends , home to "The Things We Do For Love." Guitarist Rick Finn arrived shortly thereafter, performing on 10cc's 1977 concert recording Live and Let Live .

10cc's Ultimate, Ultimate Greatest Hits 2024 U.S. Tour Dates:

July 24: Montclair, NJ @ Welmont Theatre July 25: New York, NY @ Sony Hall July 26: Patchogue, NY @ Patchogue Theatre July 27: Glenside, PA @ Keswick Theatre July 29: Ocean City, NJ @ Ocean City Music Pier July 30: Kent, OH @ Kent Stage Aug. 1: St. Charles, IL @ The Arcada Theatre Aug. 2: Milwaukee, WI @ Pabst Theater Aug. 3: St. Louis, MO @ The Pageant Aug. 4: Cincinnati, OH @ Ludlow Garage Aug. 5: Indianapolis, IN @ Toby Theater at Newfields Aug. 6: Nashville, TN @ Brooklyn Bowl Nashville Aug. 8: Dallas, TX @ Majestic Theatre Aug. 9: San Antonio, TX @ Empire Theatre Aug. 10: Austin, TX @ ACL Live at Moody Theater Aug. 12: Tempe, AZ @ Marquee Theater Aug. 15: Los Angeles, CA @ The United Theater on Broadway Aug. 17: San Francisco, CA @ Palace of Fine Arts

Top 200 '70s Songs

Gallery Credit: UCR Staff

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10cc – review

E ven in the sprawling 1970s, 10cc were an odd fit. Too prog for glam, too pop for prog and too glam for pop, they sold themselves as an art band, but actually traded in subversive pastiche: the love song declaring they weren't in love, the airline ad jingle about a plane crash, the reggae song about being terrified of black people. It meant their legacy went little further than inspiring the parody pop of the Barron Knights , and pastiche, of course, dates 20 years faster than normal music. Hence – particularly since only bassist Graham Gouldman survives from the original lineup, and he largely takes a back seat to the cheesy redcoat vocals of singing percussionist Mick Wilson – the 10cc of 2012 actually are the corny covers band they once aped for comic effect.

Donna is no longer a wry helium mimic of a 50s croon tune, it simply is one. I'm Mandy, Fly Me isn't a prog-pop upturning of the cruise ship soul tradition any more, it's practically sponsored by Saga. Their sentiments haven't aged well, either. Funk flounce The Wall Street Shuffle doesn't bash bankers so much as prod them with a tickle-stick, far too tongue-in-cheek and playful for our bonus-blighted, double-dipping times. And Dreadlock Holiday smacks of a racially awkward era that gave us the TV shows Mind Your Language and It Ain't Half Hot Mum – and, for all its jaunty jubilance, should arguably have stayed there.

Tonight marks the 40th anniversary of 10cc's debut, however, and the guest appearance of original member Kevin Godley, to sing on rarities Old Wild Men and Sand in My Face and a brilliant a cappella barbershop rendition of Donna, adds authenticity. So do the proto-New Wave punch of Art for Art's Sake and the effortlessly affecting I'm Not in Love . As Rubber Bullets reels out its tale of jailhouse-riot rock'n'roll with Godley on drums, event status saves the day. We don't like pastiche, we kind of love it.

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GIG REVIEW: 10cc

Welcome to UK Music Reviews » GIG REVIEW: 10cc

10cc performing their Ultimate Greatest Hits Tour at The Royal Concert Hall Nottingham on Sunday 27th March 2022

Images and Review by Kevin Cooper

Graham Gouldman has been trading and touring under the 10cc livery for decades now, with band members that have been with him for longer than the classic line up.

Joining him for this Ultimate Greatest Hits Tour at the Royal Concert Hall on Sunday night are band stalwarts guitarist Rick Fenn and drummer Paul Burgess, both of whom have been in the 10cc live band since the 1970’s, Keith Clayman on keyboards and guitars and most impressively multi-instrumentalist and vertiginous vocalist Iain Hornall who has slotted in seamlessly with the monumental music of this grand band.

Opener, The Second Sitting For The Last Supper, instantly transported most of tonight’s packed audience back to their youthful days before they were treated to a salvo of really great pop songs such as The Wall Street Shuffle, The Things We Do For Love, and Good Morning Judge.

With impeccable multi part harmonies and tempo changes there was the romantic I’m Mandy Fly Me and I’m Not In Love which are as timeless as they are transcendent. There was an eleven minute version of Feel The Benefit and a scorching Silly Love, and there were some long forgotten album tracks from their 1974 album Sheet Music, such as Clockwork Creep and Baron Samedi. Non hit Old Wild Men is a forlorn ballad from that album with its melancholy musings about a band who will not pack it in, no matter how aged they get.

Bringing the main set to a close with Somewhere In Hollywood which saw Godley join the band on the screen as they played from the front before new songs Standing Next To Me and Say The Word saw this very high calibre of musicians still being able to interchange and harmonise their vocals to pull of these exquisite songs.

The encore had a sparkling a capella version of 10cc’s first single, Donna before they loaded up with Rubber Bullets that had everyone on their feet singing along, rocking out and going home with a smile on their faces.

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10cc: The Very Best Of 10cc

10cc's greatest hit recycled - but still sounding good.

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

An almost exact replica of the album of the same name that 10cc put out over a decade ago, the only difference being that the same 18 songs have been shuffled around to give it a pristine feel. With another tour looming, you can’t blame the band or label for recycling a collection of one of Britain’s most innovative, experimental and playful pop groups, but 10cc were always one of the great album bands and simply recycling your hits is only ever going to detract from that.

Tirade aside and there’s much to be admired about 10cc’s elongated stay in the singles chart. Subversive and witty (how many other bands could you say that about then or now?) in their approach, 10cc deviated from the norm, conjuring up instantly hummable pop from thorny subject matter and surprising starting points.

How prescient does _The Wall Street Shuffle _sound now as it rings a familiar bell? Similarly, the arch Rubber Bullets doesn’t sound a day out of time as dissent leads people back on to our streets. It’s not just social commentary though, as the fantastical I’m Mandy Fly Me and the crestfallen I’m Not In Love bear out.

Philip Wilding is a novelist, journalist, scriptwriter, biographer and radio producer. As a young journalist he criss-crossed most of the United States with bands like Motley Crue, Kiss and Poison (think the Almost Famous movie but with more hairspray). More latterly, he’s sat down to chat with bands like the slightly more erudite Manic Street Preachers, Afghan Whigs, Rush and Marillion. 

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10cc – The Ultimate Greatest Hits Tour 2023

The Opera House, 2nd June 2023

Reviewed by: Graeme King

Pre-tour, Graham Gouldman – original band member/leader, vocalist, bassist, and guitarist – said that 10cc’s “main strength is the songs. Hit after hit after hit. It’s relentless. We show no mercy”. This was proven to a full Wellington Opera House. Joining Gouldman were Rick Fenn (lead guitar, bass, vocals), Paul Burgess (drums, percussion, keyboards), Keith Hayman (keyboards, vocals, guitar, bass), and Iain Hornal (vocals, keyboards, guitar, bass, mandolin, percussion) – five very talented multi-instrumentalists and singers. 

The pre-concert intro Son Of Man got me suitably hyped-up. The Second Sitting For The Last Supper was an energetic start on a stage bathed in a swarth of gorgeous hues of red and blue lighting. Hornal had some distracting minor technical issues initially, but neither his nor the band’s performance suffered, and the sound was impressive overall.

After Good Morning Judge, Fenn said “Wellington is a very special place for me, my dad was born here” to loud applause.

The Dean And I was followed by Old Wild Men , featuring a beautiful guitar interplay/duel between Fenn and Hornal. The Wall Street Shuffle came before Floating in Heaven , written last year by Brian May (Queen) and Gouldman. Fenn’s delicate but searing slide guitar did the song justice.

The popular The Things We Do For Love preceded the recent Hornal and Gouldman composition Say The Word . Then it was the pre-recorded intros for I’m Mandy Fly Me and the crowd favourite  I’m Not In Love, featuring sublime four-part harmonies. Dreadlock Holiday, with the crowd singing enthusiastically, finished the set.

The first encore was an a cappella doo-wop version of 10cc’s first hit single Donna , with the band in a circle and featuring Hornal’s stunning falsetto voice, finished with an off-key note by non-singer Burgess to everyone’s amusement!  Rubber Bullets had some of the audience out of their seats and dancing up a storm to end the evening.

Support act Hello Sailor, in “stripped-back unplugged mode”, were in fine form covering all their hits. Featuring original members Harry Lyon and Rick Ball, with Paul Woolright and Jimmy Taylor, this was a well-oiled machine. 

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10cc Announces First US Tour in Over 30 Years

The post 10cc Announces First US Tour in Over 30 Years appeared first on Consequence .

British rock band 10cc will return this year for their first US tour in over three decades.

The US tour announcement follows 10cc’s current UK/Europe leg of their “Ultimate Greatest Hits Tour,” which they began 2022. Now, they’ll embark on the “Ultimate, Ultimate Greatest Hits Tour” in the United States, kicking off in Montclair, New Jersey on July 24th. They’ll continue the coast-to-coast trek through the end of July and August, hitting cities like New York, Milwaukee, Nashville, Austin, and Los Angeles. The tour ends with a date in San Francisco on August 17th. See the full list of tour dates below.

Tickets for 10cc’s 2024 tour will first be available via a Live Nation pre-sale (use code KEY ), which opens on Thursday, March 14th at 10:00 a.m. local time. Tickets will then go on-sale for the general public on Friday, March 15th at 10:00 a.m. local time via Ticketmaster . Fans can look for deals or get tickets to sold-out shows via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. You can also get tickets to 10cc’s international tour dates on viagogo .

Get 10cc Tickets Here

10cc have been regularly reuniting for European tours throughout the last decade, but this new tour marks the art rock group’s first stretch of shows in the United States since 1978. Revisit Dave Grohl and Greg Kurstin’s 2022 cover of 10cc’s “The Things We Do For Love” for their  Hanukkah Sessions  cover series.

10cc Tour Dates: 03/12 — Liverpool, UK @ Philharmonic Hall 03/13 — Dumfries, UK @ Easterbrook Hall 03/14 — Perth, UK @ Concert Hall 03/15 — Glasgow, UK @ Royal Concert Hall 03/16 — Sheffield, UK @ City Hall 03/18 — Nottingham, UK @ Royal Concert Hall 03/19 — Manchester, UK @ Bridgewater Hall 03/20 — Reading, UK @ Hexagon 03/21 — Bournemouth, UK @ Pavilion 03/22 — Oxford, UK @ New Theatre 03/23 — Swansea, UK @ Swansea Arena 03/25 — London, UK @ Royal Albert Hall 03/26 — Southend, UK @ Cliffs Pavilion 03/27 — Cardiff, UK @ St Davids Hall 04/09 — Utrecht, NL @ Tivoli 04/10 — Utrecht, NL @ Tivoli 04/11 — Ostende, BE @ Kursaal 04/12 — Antwerp, BE @ De Roma 04/20 — Stockholm-Helsinki, SE @ Silja Rock 05/04 — Ingelmunster, BE @ Labadoux Festival 05/20 — Raalte, NL @ Ribs & Blues Festival 07/24 — Montclair, NJ @ Welmont Theatre 07/25 — New York, NY @ Sony Hall 07/26 — Patchogue, NY @ Patchogue Theatre 07/27 — Glenside, PA @ Keswick Theatre 07/29 — Ocean City, NJ @ Ocean City Music Pier 07/30 — Kent, OH @ Kent Stage 08/01 — St Charles, IL @ The Arcada Theatre 08/02 — Milwaukee, WI @ Pabst Theater 08/03 — St Louis, MO @ The Pageant 08/04 — Cincinnati, OH @ Ludlow Garage 08/05 — Indianapolis, IN @ Toby Theater at Newfields 08/06 — Nashville, TN @ Brooklyn Bowl Nashville 08/08 — Dallas, TX @ Majestic Theatre 08/09 — San Antonio, TX @ Empire Theatre 08/10 — Austin, TX @ ACL Live at Moody Theater 08/12 — Tempe, AZ @ Marquee Theater 08/15 — Los Angeles, CA @ The United Theater on Broadway 08/17 — San Francisco, CA @ Palace of Fine Arts 09/20 — Derry/Londonderry, IE @ Millennium Forum 09/21 — Belfast, IE @ Waterfront Hall 09/22 — Cork, IE @ Opera house 09/24 — Dublin, IE @ Vicar Street 09/25 — Dublin, IE @ Vicar Street 11/13 — Odense, DK @ Posten 11/14 — Randers, DK @ Værket 11/15 — Helsingør, DK @ Kulturværfte 11/17 — Copenhagen, DK @ Amager Bio 11/26 — Stockholm, SE @ Cirkus 11/27 — Uppsala, SE @ UKK 11/28 — Malmö, SE @ Slagthuset – Teatern 11/30 — Gothenburg, SE @ Lorensbergsteatern

10cc Announces First US Tour in Over 30 Years Paolo Ragusa

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Graham Gouldman Sets 10cc, ‘Heart Full of Songs’ Tours

Gouldman formed what became “Heart Full of Songs” ten years ago purely for the pleasure of playing his songs in their simplest form: acoustically. The format’s popularity is such that the presentation now tours the U.K. between 10cc’s sell-out tours.

Gouldman said, “I hope you enjoy the gigs as much as we enjoy playing them.”

As of mid-January, the 10cc dates are taking place in Sweden, Denmark, New Zealand and Australia. The “Heart Full of Songs” shows are in the U.K. Gouldman told Best Classic Bands they’re working on a U.S. tour.

Gouldman’s career took off in 1965 following what turned out to be a blessing in guise. Columbia rejected his first single composition for his band The Mockingbirds, which featured future 10cc co-founder Kevin Godley on drums. The song, “For Your Love,” became a significant hit for the Yardbirds.

In a 2015 interview with Best Classic Bands , Gouldman said, “the Yardbirds were doing a Christmas show with the Beatles, supporting them at Hammersmith Odeon at the end of ’64. And [my manager] sent the song to the publisher. He knew the Yardbirds were looking for material and he played them ‘For Your Love’ and that was it.” The song reached #3 in the U.K. and #6 in the U.S.

Watch Gouldman perform the song acoustically

Working by day in a men’s outfitters shop and playing by night with his semi-professional band, Graham went on to write a string of hits, such as “Pamela, Pamela” (Wayne Fontana), “Bus Stop” and “Look Through Any Window” (The Hollies), “No Milk Today” and “Listen People” (Herman’s Hermits), among others.

In 1972, along with Godley, Eric Stewart, and Lol Creme, he formed 10cc. The band enjoyed a string of Top 10 hits, including three that reached #1 in the U.K. – “Rubber Bullets,” “I’m Not In Love” and “Dreadlock Holiday.”

Watch 10cc perform “Rubber Bullets” in 2022

“Heart Full of Songs” shows also include tracks from Gouldman’s acclaimed solo albums, And Another Thing , Love and Work , Play Nicely and Share and 2020’s Modesty Forbids .

Gouldman’s latest project was his new song, “Floating In Heaven,” that caught the attention of Queen’s Brian May, at a crucial time in the history of space exploration.

May, who has a passion for astronomy and a PhD in astrophysics, worked with Gouldman to release the song as a single to mark the unveiling to the world of the first astonishing images from NASA’s James Webb Space Telescope on July 12, 2022. The pair performed the song with a full orchestra at the sixth Starmus convention, held in September in Yerevan, Armenia.

Graham Gouldman 2023 U.K. Tour (Tickets are available here )

10cc Dates Feb 06 – Gavle, Sweden – Konserthus Feb 07 – Gothenburg, Sweden – Lorensbergsteatern Feb 08 – Gothenburg, Sweden – Lorensbergsteatern Feb 09 – Jonkoping, Sweden – Konserthus Jonkoping Feb 11 – Gavle, Sweden – Konserthus Feb 12 – Stockholm, Sweden – Konserthuiset Feb 13 – Malmo, Sweden – Slagthuset Feb 15 – Copenhagen, Denmark – DR Koncertsalen Feb 16 – Fredericia, Denmark – Eksercerhuset Feb 17 – Helsingor, Denmark – Det Musiske Hus Feb 18 – Aalborg, Denmark – Musikkens Hus

“Heart Full of Songs” U.K. Dates Mar 06 – Bury St Edmunds – The Apex Mar 07 – Sunderland – Fire Station Mar 08 – Glasgow – Saint Luke’s Mar 09 – Buxton – Floral Pavilion Mar 10 – Holmfirth – The Civic Mar 12 – Stamford – Corn Exchange Mar 13 – Lytham St Annes – Lowther Pavilion Mar 14 – Southport – The Atkinson Mar 15 – Shoreham – Ropetackle Mar 16 – London – Cadogan Hall Mar 18 – Basingstoke – The Haymarket Mar 19 – Oswaldtwistle – Civic Arts Centre & Theatre Mar 20 – Lincoln – Drill Hall Mar 21 – Wavendon – The Stables Theatre Mar 22 – Shrewsbury – Theatre Severn Mar 23 – Salford – Quays Theatre

10cc Dates Jun 02 – Wellington, New Zealand – Opera House Jun 03 – Auckland, New Zealand – Bruce Mason Centre Jun 04 – Hastings, New Zealand – Opera House ToiToi Jun 06 – Christchurch, New Zealand – Isaac Theatre Royal Jun 07 – Cairns, Australia – CPAC Jun 08 – Caloundra, Australia – Events Centre Jun 09 – Brisbane, Australia – Fortitude Music Hall Jun 10 – Tweed Heads, Australia – Twin Towns Jun 11 – Tweed Heads, Australia – Twin Towns Jun 13 – Newcastle, Australia – Civic Centre Jun 14 – Toncurry, Australia – Forster Toncurry RSL Jun 15 – Wyong, Australia – Arts Centre Jun 16 – Penrith, Australia – Evan Theatre Jun 17 – Sydney, Australia – Darling Harbour Theatre Jun 18 – Springwood, Australia – Blue Mountains Theatre Jun 21 – Canberra, Australia – Llewellyn Theatre Jun 22 – Thirroul, Australia – Anita’s Jun 23 – Aspendale Gardens, Australia – Chelsea Heights Hotel Jun 24 – Geelong, Australia – Costa Hall Jun 25 – St. Kilda, Australia – Palais Theatre Jun 28 – Bendigo, Australia – Ulumbarra Theatre Jun 29 – Hobart, Australia – Wrest Point Ent. Center Jun 30 – Adelaide, Australia – Thebarton Theatre Jul 01 – Darwin, Australia – Entertainment Centre Jul 02 – Perth, Australia – Astor Theatre

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I have three of the GG cds, and each is a work of art. I love the man’s songwriting style.

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10cc Bring British Smiles and Virtuosic Playing to Australia

10cc’s material is a thrilling blend of music hall, theatre, the beatles, the beach boys and pop-art appropriations akin to richard hamilton. .

The Tivoli, Brisbane 

Ten minutes into the opening night of 10cc’s current Australian tour, Graham Gouldman pulls out one of the most recognisable bass riffs of the 1970’s on “Art for Art’s Sake”. As the tune finishes, Gouldman points skyward and thanks his dad for providing the lyric inspiration, “art for art’s sake / Money for God’s sake” . 

It was Gouldman’s father who spotted a lone milk bottle on the step of a Manchester terrace house in the early 1960’s and suggested to a young Graham that there might be a song in it. There was. The teenager went on to write “No Milk Today” for Herman’s Hermits, “Bus Stop” for the Hollies and “For Your Love” and “Heart Full of Soul” for the Yardbirds. 

As Goldman leans into that riff, you’re struck by the fact that this man – one of Britain’s songwriting greats – has been doing this pretty much since the Beatles dropped “Please Please Me” in 1963. 

When 10cc started in Stockport in 1972, they were a band made up of four distinct musical personalities: Gouldman, Eric Stewart, Kevin Godley and Lol Creme. Godley & Creme jumped ship in 1976 to work further in music and then video. Stewart stayed partnered with Gouldman, officially, until 1983, followed by a long hiatus and a 1990’s reunion. 

Today Gouldman is the last man standing, fronting a band that includes veteran Paul Burgess (who’s been on 10cc’s drum stool for fifty years), guitarist Rick Fenn (who’s clocked a 46-year tenure in the touring band), Keith Hayman on piano/keys/guitar and percussion and relative newbie Ian Hornal who not only sings Stewart’s parts sublimely, but adds guitar/keys and percussion. 

Before the show starts, I’m reminded of the Ship of Theseus – the thought experiment that challenges the nature of identity and change. It poses the paradox of a ship whose parts are gradually replaced over time, so that none of the original components remain. Is the ship still the same? By the time 10cc are rolling into “Life Is a Minestrone” and “The Wall Street Shuffle”, I no longer care. 

Tonight Gouldman, who gives author credits to past members throughout, shines a light on everything from the hits and album tracks to pieces from the margins. So beautifully unique, the material is a blend of music hall, theatre/satire, the Beatles, the Beach Boys and pop-art appropriations akin to Richard Hamilton. 

Early highlights include “Feel the Benefit”, “I’m Mandy Fly Me” and “Silly Love”. To ears that don’t know the catalogue inside out – like mine – the tunes are a delicious sonic challenge. The playing is virtuosic – Hornal, singing out front, or alongside Gouldman and Fenn, is a gem. 

There are two new songs, Gouldman’s “Floating in Heaven” and Hornal’s “Say the Word”, as well as five or six stone cold classics.

As the set nears its close, there’s the perfect pop sculpture of “The Things We Do for Love”, “I’m Not in Love” and a stunning a capella of the band’s first single, and then doo-wop pastiche, “Donna”. 

The show ends with a thumping “Rubber Bullets”. The audience are on their feet. There’s no fist pumping on stage, just very wide British smiles and the acknowledgement of a job very well done. Brilliant. 

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10cc tour dates 2024

10cc is currently touring across 6 countries and has 42 upcoming concerts.

Their next tour date is at Wellmont Theater in Montclair, after that they'll be at Sony Hall in New York (NYC).

Currently touring across

Upcoming concerts (42) See nearest concert

Wellmont Theater

Keswick Theatre

Patchogue Theatre for the Performing Arts

The Arcada Theatre

Pabst Theatre

The Pageant

Ludlow Garage

The Toby at Newfields

Brooklyn Bowl - Nashville

Majestic Theatre

Austin City Limits Live at the Moody Theater

Marquee Theatre

The United Theater on Broadway

Palace of Fine Arts

Vicar Street

Victoria Hall

Venue Cymru Theatre

Victoria Theatre

University of Wolverhampton at the Civic Hall

Wolverhampton Civic Hall

Aberdeen Music Hall

Globe Theatre

Scarborough Spa Grand Hall

Hull City Hall

Congress Theatre

Royal & Derngate Theatre

De Montfort Hall

Cambridge Corn Exchange

Princess Theatre - Torquay

Fairfield Halls

Stevenage Arts & Leisure Centre

Musikhuset Posten

Forum Scene

Karlstad CCC

Past concerts

Kursaal Oostende

View all past concerts

Recent tour reviews

Bristol Hippodrome Sunday 17th March 2019. Second time seeing the band. Brilliant musicians playing a great back catalogue. Sound quality perfect and well appreciated by an enthusiastic audience on the last night of the tour.

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A brilliant night at Birmingham Symphony Hall. Went as a trip down Memory Lane but WOW - these guys far exceeded expectations. The audience were mesmerised at their musicianship. They were very entertaining too, with a nice smattering of background to the tracks.. Highly recommended - whatever your age!

Awsome! Surreal!

Who would have thought that I'd get the chance to actually SEE the band perform? I could tell that they also enjoyed being on stage in Stockholm, making us happy. They did put on a show that felt genuine and as if it was yesterday the songs were written.

I looked around and thought: What a lot of OLD people here… Then, realizing that they are not OLD at all. We are the same age and still kickin' it! :-) I'd suggest everyone that feel the urge to see them on stage GO DO IT!

Thanks guys, I'm still smiling and singing your songs for my patients!

Gunilla, happy dental hygienist

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10cc concert review Glasgow Royal Concert Hall in Glasgow, UK Fri, 15 Mar 2024

Tour: Ultimate Ultimate Greatest Hits Tour

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StarTribune

Review: hip-hop star nicki minaj turns target center pink in overdue return to minnesota.

Good context for how overdue Nicki Minaj's concert was Saturday night at Target Center: The last time the hip-hop queen performed in the Twin Cities was 13 years ago as the opening act for Britney Spears.

While Spears has endured well-publicized ups and downs since that poorly attended Xcel Energy Center show in 2011, Minaj has mostly had only ups in her career.

She has been one of the top-selling artists in pop music of the past decade, racking up three No. 1 albums (the most ever by a female rapper) and 23 top-10 singles (same). Her success — and her feminine and LGBTQ icon status, too — rocketed further last year via her smash-hit "Barbie World" single with Ice Spice from the "Barbie" movie soundtrack.

Saturday's nearly sold-out crowd of about 16,000 fans came dressed for the occasion in a sea of pink outfits, including many men. It wasn't because of Barbie, though. Minaj has been pinkifying the world since her 2010 breakout album, "Pink Friday," a success she flashed back to in the title of her tour and latest album "Pink Friday 2."

Some of those fans — especially the ones who hired babysitters — may have been seeing red by the time Minaj finally took the stage. She didn't go on until 10:10 p.m., more than two hours after the advertised start time with only a DJ filling the gap.

Her scheduled opener, "The Boy Is Mine" co-vocalist Monica actually performed in a 15-minute break that abruptly came three-quarters of the way through Minaj's set. Along with a couple of long video interludes, Monica's montage made the concert feel unusually disjointed. Her songs, including "Before You Walk Out of My Life," also felt mellow and a tad outdated amid Minaj's recent, fiery hits.

In between those preshow and midshow lulls, though, Minaj was fully and fiercely present. The Trinidad-born rapper, 41, took the stage in a silvery space-queen outfit to the tune of "I'm the Best," and she seemed intent on living up to that title.

The second in an unprecedented run of three Target Center concerts in six months headlined by female hip-hop stars — after Doja Cat's and Ice Spice's December date , and before Megan Thee Stallion's May 14 booking — Minaj's performance boasted a big, bright visual production on par with Doja's show.

Neon lights were decked out all over the stage (yes, often tinted pink). Dancers and pyro were constantly blowing across the stage. Minaj's numerous outfits were quite a spectacle, too, from a bejeweled purple bodysuit with matching thigh-high boots near the start to an elegant, flowing red dress donned later for the mellower love songs "Save Me" and the new one "Fallin' 4 U."

Minaj wasn't as tied in with the choreography or as physically hyperactive as Doja was. Her most-cheered dance move may have been a stage-hump in "Pink Birthday," which rivaled the one Prince offered across the street at First Avenue for movie cameras in 1983. She genuinely seemed to be pouring most of her energy into her vocals instead, and her talent as a rapper and bawdy, tongue-tying lyricist never got lost in the grand visual scheme.

She came on fast and furious on the microphone right away during "Barbie Dangerous" and "Beep Beep." Kudos to the crowd for keeping up with her rapid delivery and making the latter tune a big sing-along. A lot of today's hot young male rappers, including Travis Scott and Lil Uzi Vert, should take note on how Minaj spit forcefully into her mic all night and did not let her backing tracks do any heavy-lifting for her.

Other impressive runs came later when she ripped through "Red Ruby Da Sleeze" and "Chun-Li" back-to-back under a backdrop of Chinese imagery, and again near show's end in abbreviated versions of "Super Freaky Girl" and "Anaconda."

After all the glitz and glamor displayed throughout her show, Minaj made a simpler choice of ripped jeans, white cotton tank top and a (pink) do-rag on her head when she returned after Monica's mini-set for a run of hits, including "Starships" and "Everybody." She came off more down-to-earth, but her finale look also seemed to emphasize there's a lot more to her stardom than the glitz and glamor.

Chris Riemenschneider has been covering the Twin Cities music scene since 2001, long enough for Prince to shout him out during "Play That Funky Music (White Boy)." The St. Paul native authored the book "First Avenue: Minnesota's Mainroom" and previously worked as a music critic at the Austin American-Statesman in Texas.

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Bad Bunny brought a live horse, an orchestra and Puerto Rican pride to Austin concert

There was a live horse.

Friday night at the Moody Center, reggaetón idol and fashion trendsetter Bad Bunny switched sides and costumes. Earlier he donned a suit and wig under an L.A. Dodgers cap, then he rocked a tan jacket with frills. In between, a soliloquy about taking the road less traveled via pre-recorded video.

In it, Bunny crossed the dessert on a horse with the self-serious swagger of a cologne ad.

“No one else dares to take this path,” he narrated on-screen in Spanish.

Then, for about 15 seconds, he walked into the arena on a brown horse, gave it a pat, and we never saw it again. For one of the world’s mightiest rock stars, it was the most over-the-top flourish in a night filled with them.

A full orchestra; 20 back-up dancers; a rotating cat walk; 10 to 15 minutes of just posing on said cat walk to breathe in the idol worship while giving back brooding stares; barroom singalongs of sweeping breakup ballads like “un x100to” performed while lounging on top of a grand piano; the audacity to not book an opener; the bravado to leave out song of the summer 2022, “Callaita,” which was in a beer commercial, from the set list. And like Leo Messi, the rock star born Benito Antonio Martínez Ocasio never bothered to address his adoring English-speaking public in anything other than his native Spanish.

More from the Statesman: Valentina’s Tex Mex BBQ in Buda temporarily closes, says shifting to new management

He’d ask where all the Latinas in Austin, Texas were at to get screams, sure, but also offer affirmations about identity and self-actualization.

“What we can’t control is what people will say about us,” he’d say, later shouting out how special it was to see Puerto Rican flags from fans. (I counted more than 10 large ones stretched out by patrons, including a giant flag draped over the mezzanine wall like a soccer match.) In his pep talk, Bad Bunny was alluding to being a tabloid regular—he split with Kendall Jenner in December—but also seemingly shouting out what it’s like to be a Latinx person in the U.S.

And the Spanish-first community was proudly about town. Selling $10 cowboy hats; enjoying hot dogs with a million toppings, fresh off a street griddle; even third- and fourth-generation Texans seemed excited to tap into the fashion and swagger of Mexican uncles at a child’s birthday party on Bad Bunny night.

You forget that Bad Bunny is an idea and lifestyle, too. Locally, dance clubs like Mala Vida are molded in his neon image. In South Austin, the same operating group’s Gabrielas restaurant has a permanent Bad Bunny throne that diners can snap photos on. He’s emboldened the community with a zest for gender-neutral brightness so undeniably appealing that Mark Zuckerberg is now wearing gold chains and letting his curls flex.

Between bangers at the Moody, he told us to seek out “people who love you and support you.” The dude projects a lot, defiantly adding banter like “people tell me things every day, but I’m sure of who I am.”

More from the Statesman: In Montopolis, a constant battle to preserve Austin's historic Mexican cemeteries

Were his gradient lights hypnotic? Was the cowboy boot necklace we all got at the door, that synced to the lightshow Coldplay and Taylor Swift-style, a lovely souvenir? Were his vocals muffled and mixed to overpowering degrees so that at times you heard him echo twice as loud as the accompanying beat? Absolutely and of course.

Structurally, this Most Wanted Tour is a celebration of October’s “Nadie Sabe Lo Que Va Pasar Mañana” record, a more somber and rap-centric offering relative to 2022’s relentlessly romantic party masterpiece “Un Verano Sin Ti.” The former is almost a Rick Ross album, rich with thumping beats and strings—mood music for the bosses that makes you want to put a bib on and eat crab.

And so the show began with 10 uncompromising new songs, then revved into a string of party barge standards post-horse: “Yo Perreo Sola,” “La Santa,” “Me Porto Bonito.” Illuminate your reality and proudly let the dog out—he couldn’t be any clearer.

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All the proof Taylor Swift is making first major change to Eras Tour

Welcome to "The Tortured Poets Department" (Eras Tour Version).

It looks like Taylor Swift 's Eras Tour is getting a brand new era, straight from the Tortured Poets Department .

Since the announcement of her new 11th studio album ( which dropped April 19 ), fans have been anxiously waiting to see if her worldwide, career-spanning tour would get a shakeup to accommodate the new music. While Swift is remaining mum, and a rep for the singer didn't respond to an EW request for comment, a new YouTube Short posted to Swift's account seems to provide all the clarity Swifties needed that a change is imminent.

In the video, which is part of Swift's #ForAFortnightChallenge tied to the album's first single, "Fortnight," the 14-time Grammy winner can be seen rehearsing for tour with her backup dancers. While some shots are obviously from the Folklore , Lover , and other existing "eras" of the show, several blink-and-you'll-miss-it moments have never been seen before.

In one, Swift, clad in workout gear, appears to be wearing the same boots seen in her "Fortnight" video . She's holding on to a banister that looks like it has the Tortured Poets Department emblem on it — the "P" and the "D" can just be made out.

taylor swift/youtube

Although the video is in grayscale, and therefore exact colors are impossible to identify for sure, several shots feature what looks like a new white-ish mic, which has never been seen before. The new era's color, of course, is also an off-white hue.

Perhaps the most interesting moment of the new clip, though, is one that features what looks like new choreography and costumes. Swift's backup dancers can be seen in top hats and dancing with canes, while she sings in the front middle of the group — choreography and props which have so far not been featured in the concert.

This is all speculative until the tour resumes in Paris, France, on May 9, of course, but if Swift is adding a whole new era, it would mark the first major change to the setlist since Swift began performing it last March.

Throughout the tour, she's made little swaps here or there: She added performances with some of the artists who opened for her like HAIM or Phoebe Bridgers, and she added "Long Live" to the Speak Now section when that re-recorded album released during tour. She also swapped out "Invisible String" for the "The 1" in the Folklore section after news of her split with Joe Alwyn broke.

But, nothing has majorly been added or subtracted from the show, which is already a whopping three-and-a-half hours long. Now, if anyone could pull off adding more runtime to Eras, it's the "Mastermind" herself, but it's more likely that some songs will be getting cut to make room for new material. Fans have theorized that the tracks that didn't make it into the VOD rental of the Eras Tour concert film — "The Archer," "Wildest Dreams," "Cardigan," and "Long Live" — could be first on the chopping block, but we'll just have to wait and see what Ms. Swift has up her cryptic and Machiavellian sleeve.

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Related content:

• Ethan Hawke and Post Malone experiment on Taylor Swift's mind in surreal 'Fortnight' music video
• Emma Stone credited for contributing 'oddities' to new Taylor Swift song 'Florida!!!'
• All the famous people Taylor Swift name-drops in the song 'The Tortured Poets Department'

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Neil Young and Crazy Horse scaled heights of ragged glory in transcendent Phoenix concert

Neil Young didn't waste any time getting into the epic guitar jams Saturday, April 27, at Talking Stick Resort Amphitheatre, taking the stage with Crazy Horse to set the tone for his first Phoenix concert since 2003 with the fuzz-guitar transcendence of "Cortez the Killer," a speaker-shredding meditation that made it past the 15-minute mark, just long enough to leave you wishing it had gone another 15 minutes.

They were six minutes deep before the singing started. And they dusted off the missing verse Young recently unearthed that didn't make it onto "Zuma" because the console in the studio lost power in the midst of recording an otherwise perfect take.

“I floated on the water,” Young sang nearly 50 years later in Phoenix. “I ate that ocean wave/ Two weeks after the slaughter/ I was living in a cave/ Came too late to get me/ There’s no one here to set me free/ From this rocky grave/ To that snow-capped ocean wave.”

Neil Young and Crazy Horse treat Phoenix to elevating guitar jams

It was a glorious start to a brilliant performance, from the cavernous majesty of his guitar tone to the weathered ache of his lead vocal as the members of Crazy Horse effortlessly lived up to the reputation that led him to title a 1990 album "Ragged Glory," played out in front of the oversized fake Fender amps and road cases they used on the Rust Never Sleeps Tour in the '70s.

This is Young's first major tour with Crazy Horse in 10 years and they're only three shows in, so we may have lucked into a concert that was even looser-limbed than usual. Songs were falling together like magic in slow pursuit of something more elusive than perfection.

It's been 55 years since Young and Crazy Horse spent two weeks in the studio bottling lightning on "Everybody Knows This is Nowhere," a masterpiece that featured heavily in Saturday's performance, from the proto-punk riffing of "Cinnamon Girl" to a sprawling rendition of "Down By the River," "The Losing End (When You're On)" and the country-rocking title track.

It's actually kind of amazing that two of the three original members of Crazy Horse — bassist Billy Talbot and drummer Ralph Molina — are still out there touring with Young after 55 years. They're joined by Micah Nelson, Willie's son, on this tour. The 33-year-old is filling in on guitar for Nils Lofgren, who couldn't do this tour because of a previous commitment with the E Street Band.

But more on Lofgren later.

Nelson previously toured with Young as a member of Promise of the Real.

Neil Young and Crazy Horse haven't lost their magic after 55 years

To look at Young and his two fellow travelers from the early days, you'd clearly know they've aged a year or two since 1969. To hear them? Not so much. It didn't sound much different than the tours I saw Crazy Horse do in the '90s. It rocked with that same urgency and passion (and distortion).

Young has never been the world's flashiest guitarist but he gets more magic out of one note than most guitar heroes can pack into 20 or 30 notes in half the time, arriving at a sound that's his and his alone.

As a singer, his vocals have rarely been flawless, but they've always done exactly what the songs require with raw emotion to spare, and that remained the case Saturday in Phoenix, where the 78-year-old Young sounded great.

Neil Young and Crazy Horse 2024 setlist: Every song they played at Phoenix concert

Neil Young's set went heavy on classics, from 'Powderfinger' to 'Cortez'

The set went heavy on the classics, from those already mentioned to "Don't Cry No Tears" and "Powderfinger."

After "Love and Only Love," the only song they played from "Ragged Glory," Young sent his bandmates away for a three-song mini-set on acoustic guitar and harmonica, including “Comes a Time” and “Heart of Gold."

Then his bandmates returned to bring the set to a cacophonous conclusion with the speaker-bleeding majesty of “Hey Hey, My My (Into the Black)," Young defiantly insisting "Rock and roll will never die" while illustrating why that is before returning for a one-song encore, "Danger Bird," with guest piano by Lofgren, who lives in the Valley and was home on a break in touring with the E Street Band.

By that point, it was everything you could've hoped for from an artist who's been touring since the '60s, playing to the strength that made him such a legend in the first place.

The newest song they played was “Scattered (Let’s Think About Livin’)” from 1996’s "Broken Arrow," prefaced by a heartfelt tribute to producer David Briggs, who worked with Young on countless classic albums before his death in 1995.

It was as close to a greatest hits tour as you'll likely see from Young but because he kept it so unpolished and spontaneous, it felt as fresh as those songs would've felt at any point in Young's career, even a warhorse as frequently featured as "Cinnamon Girl" or "Hey Hey, My My (Into the Black)."

It was everything a Young fan could've hoped for when the tour was first announced and then some.

Young and Reverend Billy & the Stop Shopping Choir deliver Love Earth gospel

After the second song, "Cinnamon Girl," Young took a moment to address the fans.

"This is the part of the show where I stand here at the front and figure out what to say for just a minute or two," he said before leading the crowd in a call-and-response of "What's your favorite planet?" "Earth!"

Then, when the applause died down, he added, "I want my grandchildren's grandchildren to have this so they can go way out in the forest and walk around, way out in the fields and walk around. That's what I want them to see. We've gotta be here."

This is the Love Earth Tour, a sentiment at the heart of the opening set by Reverend Billy and the Stop Shopping Choir, a performance art ensemble whose surreal performance found the Reverend, dressed in a white suit, preaching an anti-war, pro-environment gospel.

"We're here to talk to you about the Earth!" the Reverend shouted. "We've got some high stakes here this evening. Couldn't be higher. It's about life! Saving life! Loving life! Being strange enough to change enough to find a way to live!"

Neil Young and Crazy Horse 2024 setlist: Every song they played in Phoenix

Here’s every song Neil Young and Crazy Horse played at Talking Stick Resort Amphitheatre in Phoenix:

• "Cortez the Killer"
• "Cinnamon Girl"
• "Don't Cry No Tears"
• "Down by the River"
• "The Losing End (When You're On)"
• "Everybody Knows This Is Nowhere"
• "Scattered (Let's Think About Livin')"
• "Powderfinger"
• "Love and Only Love"
• "Comes a Time" (Neil Young solo acoustic)
• "Heart of Gold" (Neil Young solo acoustic)
• "Human Highway" (Neil Young solo acoustic)
• "Hey Hey, My My (Into the Black)"
• "Danger Bird"

Reach the reporter at   [email protected]  or 602-444-4495. Follow him on Twitter   @EdMasley .

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Zendaya's 'challengers' smash at box office, audience reviews more mixed, zendaya's 'challengers' game, set, match at box office ... audiences seem conflicted.

Zendaya 's got a major win to celebrate ... her new tennis movie "Challengers" is on pace to smash the competition at the box office -- though audience reaction seems more mixed.

Deadline reports the movie's headed for a $15.2 million opening ... nearly doubling the next highest opening -- that movie's called "Unsung Hero," and the trade publication says is headed for an $8 million weekend.

The outlet's telling "Challengers" producers to hold their horses though ... 'cause $15 million's pretty far from the reported $50+M budget this flick carries.

And, in case you're wondering ... Deadline says PostTrak -- a data company that talks to movie audiences as they leave the theater -- confirmed people are coming out to see Zendaya. They say 55% of respondents came because of her.

But, whether those audiences enjoyed the flick ... kinda unclear at this point. According to Rotten Tomatoes , 88% of critics enjoyed the movie -- much higher than the 77% of audience members who said the same.

77% is still pretty high ... but -- with a movie this anticipated -- 1 in every 4 reviewers bombing the flick doesn't exactly bode well for attracting future audiences.

Of course, many know the movie from the sexual tension in the trailer ... including a scene where two men kiss Zendaya's neck. It's been on people's calendars for a while now because of it -- and, perhaps early audiences built the flick up too much in their heads.

Bottom line ... this weekend's box office match is done -- but, some viewers are already labeling the movie a fault!!!

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