Aerosmith is riding another creative peak these
days. Following the release of their best album in more than a decade, the blues based Honkin’
On Bobo, the Boston five some has taken to the road with a new fire lit beneath them.
Atlanta’s show proved it. Having seen the band several times, I can say that they
seemed looser and more in control of their abilities than ever. This was just an average
Aerosmith show. That doesn’t mean that it wasn’t a powerful night that would
blow away the best from most groups. Starting the show from a tiny stage in the center of
the floor with “Toys In The Attic”, all of the Aeromen were in the audience’s
collective face right from the start. Steven Tyler and Joe Perry shared the harmonies on a
communal mic while cramped in a space no bigger than a club. By the time they rushed the
main stage with “Back In The Saddle,” the tone was set. Bobo was aired
heavily and the new songs were a fuel-injected addition to the core set. For a group whose
show changes significantly from tour to tour, it’s amazing how consistent they are.
Back to back, they did the blues swing of “Shame, Shame, Shame” (for the first
time ever) followed by their oldest classic, “Dream On.” The juxtaposition of an
inaugural performance chased by a 30-year old gem said more than I can. They attacked both
with the same fervor and dedication.
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Surprisingly, this was only a start. At the end of
“Dream On,” Tyler announced it was time to move into “second gear.”
“Draw The Line” was a masterpiece of attitude and grit. Drummer Joey Kramer
added in new fills and pumped the beats out in a way that made them feel as important as
oxygen while the late set “Baby, Please Don’t Go” felt like Zeppelin
reborn. Guitarist Joe Perry even took to lead vocals for “Stop Messin’ Around,”
introducing it as one they did back in ’74 at Atlanta’s long gone Electric
Ballroom. While Perry sang, Tyler wailed on a harmonica. During “Walk This Way,”
Steven Tyler swung 60-feet over the crowd, upside down from a trapeze swing, landing
deftly on the walkway that split the floor in half. It was stupid, dangerous and pure rock
and roll. A bass and vocal lead in from The Beatles’ “Within You, Without You”
led Tom Hamilton into a heavier than usual “Sweet Emotion” to close out the
night. “Train Kept A-Rollin’” was the ultimate encore. A blizzard of logo
shaped confetti filled Philips top to bottom. Aerosmith circa 2004 is as sharp and shiny
as they’ve ever been. They may be the only rock band that’s ever improved
with age.
(Chris McKay / concertshots.com) |
