Background and the Pandemic
I originally bought tickets for this show at the Hollywood Bowl on January 25, 2020, but the pandemic obviously delayed the original show date of May 29th. In a fit of optimism on July 16, 2020, the show was rescheduled for October 1, 2021. I really didn’t expect the show to stick. It was my second major crowd outing since the start of the pandemic.
I drove to the Pasadena park and ride location which had just closed because the last bus had just left. They indicated the Zoo location was still open and would have buses until 7pm. So we drove to the LA Zoo bus stop and parked and rode from there. Doing this, even with crowds well masked, was certainly a lot less taxing than sitting in crazy traffic or worrying about parking. The two way fee was a much lower $6 whereas I expected it to be $12 per person.
We got to our seats a bit after the opening act started because of the COVID-19 check-in lines. The lines were miserably managed and social convention went out the window for people cutting in line and generally shifting around.
While vaccination cards or negative tests were required for entrance, they weren’t well organized about it. It would have been all-too-easy to sneak around the COVID check and get directly into the ticket/bag check area which was much more closely guarded and well executed.
Once past the checkpoint not many people were wearing masks. There was approximately 60% masking in public areas outside the Bowl itself, but once seated with a nearly capacity crowd at a sold out show, there was only about 20% masking. I kept a mask on the entire night. Knowing that this would be the case we didn’t take the traditional Hollywood Bowl picnic basket or food.
The weather for the evening was about as lovely as one could have hoped. Not to hot and not too cold which is notable when October evenings can be uncomfortably warm with temperatures in the high 80s to mid 90s.
Opening act: Squeeze
I think I enjoyed the opening act most this evening. They played a few of their hit songs certainly, but I enjoyed the more experimental late 70’s material they played that fell into the vein of Pink Floyd and The Alan Parsons Project as part of the New Wave movement. It was very much the sound of the late 70’s and they recreated it wonderfully in a way that took me back to that space and time. While there were some nice flourishes and musical improvisation sprinkled in, it was closer to their studio/album work in sound and flavor, particularly in comparison to Hall & Oates. Their material generally matched the mood of Hall & Oates’ She’s Gone.
I almost feel like this performance wasn’t as flashy as it may have been in the day. It would be quite something to see them in a more intimate setting like the Troubadour.
The day was one of the band member’s birthdays, so the entire crowd sang happy birthday to close out the performance.
There were a number of women in their 50s standing up and singing and dancing to every number which was interesting to see.
I could only recall Mussels, Cool for Cats, Tempted, Annie, Black Coffee, and Happy Birthday from the top of my head as I didn’t keep a written setlist like I did for Hall and Oates. The list below is courtesy of setlist.fm, but all the big pieces appeared in the order that I remember.
- Take Me I’m Yours
- Up the Junction
- Is That Love
- Departure Lounge
- Slap and Tickle
- Pulling Mussels (From the Shell)
- Please Be Upstanding
- Cool for Cats
- Annie Get Your Gun
- If I Didn’t Love You
- Black Coffee in Bed
- Happy Birthday to You (Mildred J. Hill & Patty Hill song)
(Sung to bassist Owen Biddle; each band member took a solo spot)
Main Act: Hall and Oates
Starting at 8:50 PM and finishing out at about 10:30 PM
- Out of Touch
- Method of Modern Love
- Say it Isn’t So
- You’ve Lost that Loving Feeling
- She’s Gone (High on Consolation)
- Sarah Smile
- Is it a Star (according to setlist.fm, I didn’t catch the title at the time)
- Back Together Again
- I Can’t Go For That (No Can Do)
—- Encore —
- Rich Girl
- Your Kiss is on My List (with a slick transition to)
- Private Eyes (10:10 PM)
—- Band introductions —-
- You Make my Dreams Come True (10:20 PM start)
- Shane Theriot (Guitar)
- Eliot Lewis (keyboards)
- Klyde Jones (Bass)
- Brian Dunne (drums)
- Porter Carroll Jr. (Percussion)
- Charles “Charlie” DeChant (Saxophone)
The concert was generally solidly produced. The opening was electric and the crowd gave them a lot of early energy in a nearly packed Bowl. Unfortunately the energy waned within a song and a half. Daryl Hall took about three songs to really warm up his voice. Prior to that I was worried about what I was in for. For someone in his mid-70’s it was a solid performance, but he’s definitely not got the energy of the early 80’s. Late in the program he moved to keyboards and did alright for his age, but there were some obvious rough spots in his solo play.
Given their spot in the Yacht Rock pantheon of highly produced music, I expected to hear more of the polish of their 80’s work, but there was a lot more Jazz and R&B influence on their performance. This was probably great for the Hollywood Bowl regulars where there’s often quite a bit of Jazz programmed, but it just wasn’t the 70s experimental material or the Rock/Pop I was either hoping for or expecting.
Hall’s patter was a bit stilted for me. The quote of the night came between Sarah Smile and the lead into Is it a Star with a drug culture reference:
“I think all the 70’s were experimental.”
This post was originally published on Chris Aldrich