Reflecting back on the hundreds—if not thousands—of concerts I've been to, there are a couple that stand out as tremendously disappointing, and they have quite a bit in common.

Yes 9012Live shirt

In September 1984 I saw Yes in Portland ME, touring in support of their immensely popular 90125 album. My date and I wound up leaving toward the end of the show when she freaked out after losing a treasured piece of jewelry.

A year later, my future wife and I were at the very first show in Rush's Power Windows tour, coincidentally also at the Portland civic center. We were at the edge of the stage when—during their single "Big Money"—fake dollars bearing the band's portraits rained down from the rafters above us.

These were both widely-known and unquestionably talented groups near the height of their popularity, with a huge back catalog of hits, videos in constant rotation on MTV, and deep-pocketed promoters. So why did these shows suck so badly?

Some of the problem stems from the collision between high expectations and a very pedestrian reality. But beyond that, in both cases the band members simply stood there and played their stuff, with no movement, no emotion, no stage presence, and no connection with the audience whatsoever. Despite their immense reputations, they just phoned it in.

It doesn't help that the albums were heavily overproduced, very characteristic of the mid-1980s. The early use of sound samples reduced much of the performance to triggering pre-recorded bits in sync with a click-track. That left damned little room for improvisation, spontaneity, or even variation.

I know some people see a band to hear them perform their repertoire in a familiar way. But I don’t see any point to a live, in-person performance when the band’s involvement is reduced to mechanistically playing a note-for-note reproduction of what appeared on the album. The music was obviously incredibly tedious for the bands to play, which sucked all the energy and excitement out of the crowd.

The best thing I can say about those shows is that they both had cool concert tee shirts. The kind you’d wear around to show everyone that you’d seen this really cool tour… Even though it had been about the most disappointing show you’d ever seen.

Neil Peart money
Who is your favorite singer/musician? Why?
I can’t say I have a particular favorite musician, either artistically or personally. I enjoy a number of artists’ work from a variety of genres, and there are several musicians whom I count as interesting personalities, but I don’t feel the need to obsessively order them in a particular ranking.
 
What one singer/musician can you not stand? Why?
In contrast, Stevie Nicks really annoys me, both musically and personally, although I’m sure there are numerous others.
 
If your favorite singer wasn't in the music business, do you think you would still like him/her as a person?
Do you mean “favorite” artistically or personally?
 
Have you been to any concerts? If yes, who put on the best show?
Have I been to any concerts? Probably a thousand, many of them very memorable. Again, I can’t give you one best, but I’ll tell you who were most memorable. For local bands: Powerman 5000, the Bentmen, Upper Crust, Concussion Ensemble, Emergency Broadcast Network. For national acts: Dance Hall Crashers, Prince Buster, Moby, and Laibach. However, I think the gold medal goes to KMFDM, the Toasters, and (believe it or not) Gary Numan! Without question the worst national act I’ve seen was Yes.
 
What are your thoughts on downloading free music online vs. purchasing albums? Do you feel the RIAA is right in its pursuit to stop people from dowloading free music?
The recording industry is wholly and perfectly within their rights and is morally and legally obligated to crush the illegal copying and distribution of copyrighted works. As someone who has purchased about fifty albums as a direct result of Audiogalaxy.com, I believe they’re also just as emphatically going about it in completely the wrong manner. By trying to use the legal system to pass and enforce laws which are in practice unenforceable, they have placed themselves in a directly antagonistic relationship with their customers: about the stupidest thing a business can do. Instead, they should have used a three-pronoged strategy: first, encourage music swapping; second, use the new technologies to enforce limits on the number or longevity of user-copied material; and finally, find ways to make people want to possess licensed copies of their works by increasing the value-add in the packaging, or giving additional benefits to customers who purchase electronic distributions. And shutting down Internet-based radio stations was one of the most shortsighted tactics I’ve ever seen from an industry known for its avarice.

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