Jack's 12th Show at FivePoint Amphitheatre

Photo: Robert Kinsler

Jack's 12th Show
Who: 311, The Offspring, Cypress Hill, Gin Blossoms, Lit, Eve 6
Where: FivePoint Amphitheatre in Irvine
When: Saturday, Oct. 7, 2017

Less than a week after the tragic mass shooting at a country music concert in Las Vegas, fans filled the 12,000-capacity FivePoint Amphitheatre in Irvine on Saturday. Only the third event staged at the brand new venue since its opening on Oct. 5, there was a palpable sense that this six-hour Jack's 12th Show event would be memorable. Even walking from the dusty parking lot into the entry area of the venue located on the outskirts of the Orange County Great Park, people took photos and stopped to gaze at the long mural that had gathered music fan signatures during 2016 before Irvine Meadows was shuttered after 36 seasons of concerts.

Singer A. Jay Popoff, left and bassist Kevin Baldes
of Lit at Jack's 12th Show in Irvine, CA.
Photo: Robert Kinsler

"I love this venue," said Lit singer A. Jay Popoff a few songs into the Orange County rockers' set at the mini-fest. "I know it (FivePoint Amphitheatre) is temporary; I miss Irvine Meadows."

Lit, the second band on the lineup, delivered one of the best sets of the day and seemed the only band dialed into how important this concert was to OC locals hungry for a major live music venue in Orange County.

"This is kind of like if FEMA had to build Irvine Meadows," added Lit guitarist Jeremy Popoff.

Lit singer A. Jay Popoff, left, gets the crowd
ignited at Jack's 12th Show in Irvine.
Photo: Steven Georges

Lit opened its fast-moving 40-minute set with a hard-edged and spirited take on Tom Petty's "American Girl." The crowd responded with cheers, especially the fan near me wearing a Tom Petty T-shirt. "God bless Tom Petty – thanks for the great music," A. Jay Popoff said.

Lit's set reflected a band deeply connected with the power of rock and the songs that reflect moments in fans lives. The rousing performance of the Petty classic to get the set started was only one standout; the striking "Zip-Lock," confessional "Miserable" and set-ending sing-along "My Own Worst Enemy" (all off the group's 1999 disc A Place in the Sun) were obvious favorites, but several new songs off a forthcoming album were equally strong including the country-tinged "Fast."

Kicking off the event earlier in the afternoon was Eve 6, a trio from Southern California that had the challenge of performing when the sun was blazing hot. Singer-bassist Max Collins thanked fans willing to stand or sit in the sun, and Eve 6 rewarded early concertgoers with its energetic pop punk songs including "Here's To the Night" and their biggest hit, "Inside Out."

Robin Wilson of the Gin Blossoms.
Photo: Steven Georges

The Gin Blossoms have been writing, recording and performing great melodic, jangly rock 'n' roll for almost 30 years. The good news for discerning fans at Jack's 12 Show is many of the Tempe, Arizona-spawned troupe's best songs were delivered with power and absolute perfection on Saturday.  Opening with the Americana-tinged power pop cut "Follow You Down," the set also featured singer Robin Wilson (whose wry sense of humor could land him a stint on "Mystery Science Theater 3000") and guitar greats Jesse Valenzuela and Scott Johnson lifting the crowd with fine versions of the shimmering "Miss Disarray," tender "Until I Fall Away" and an anthemic take on the group's "Lost Horizons." There were few in the crowd sitting down when Gin Blossoms' closed out a 45-minute outing with their huge hit "Hey Jealousy."

There was a dramatic shift in the atmosphere when hip hop group Cypress Hill took the stage. A definite party atmosphere gripped FivePoint as the rappers delivered Latin hip hop sounds with lyrical messages about the joys of using cannabis ("I Want to Get High" and "Dr. Greenthumb" were among the crowd's favorites).

Dexter Holland, left, with Noodles of The Offspring.
Photo: Steven Georges

The Offspring's hour-long set featured most of the Orange County punk band's best known radio staples including "Come Out and Play," "Gotta Get Away," "Self Esteem," "Pretty Fly (For a White Guy)," "Coming For You" and "Why Don't You Get a Job?" The group did take a detour from a mostly-blistering punk attack for singer Dexter Holland to sit at an upright piano and perform a tender version of "Gone Away," a song about "losing someone close to you." Tragically, there was so much loud chatter in the crowd that the emotions of the song were lost this night. 

Closing out Jack's 12th Show on an artistically-stronger note was 311. The quintet delivered its groundbreaking mix of alternative rock, rap, reggae and metal via more than a dozen cuts spanning the group's long history. Diversity and excellence in music were showcased across a performance that included the uplifting "Perfect Mistake," "Beautiful Disaster" (with its thrilling tandem guitar sonics), reggae-flavored "All Mixed Up," sweeping "Come Original" (with its prog-rock opening) and an affecting take on the Cure's "Lovesong." The set kept getting stronger, including a heavy "Down" to end the regular set and an encore performance of "Creatures (For A While)." 

Nick Hexum of 311.
Photo: Steven Georges

To be sure, Jack's 12th Show and the wide-ranging lineup at the FivePoint Amphitheatre was a success. Indeed, 311 singer-guitarist Nick Hexum summed up the long day perfectly: "It's nice to see some variety in music."


Review by Robert Kinsler

Editor's Note: Robert Kinsler's concert review and Steven Georges originally ran in The Orange County Register. You can view the original post and more of Steven Georges' images here.

Jack's 11th show, the radio station's last at Irvine Meadows, is a fitting finish

My review of Jack's 11th Show (held on Friday, September 23, 2016) was originally published on the Orange County Register Web site on Saturday, Sept. 24, 2016. A big thank you to Kelly A. Swift for the use of her great photos! Robert Kinsler

Ian Astbury, left and Billy Duffy of The Cult

Jack's 11th Show

With: Jane's Addiction, the Cult, Garbage, Everlast and House of Pain, Violent Femmes, Chevy Metal

Where: Irvine Meadows Amphitheatre

When: Friday, Sept. 23

By ROBERT KINSLER / CONTRIBUTING WRITER

Anyone who went to Irvine Meadows on Friday night not knowing the legendary landmark will soon be closed is now well versed in both the fate and 35-plus-year history of the venue.

The majority of artists who performed at Jack's 11th Show offered tributes to Irvine Meadows. The fact that this and every one of Jack FM’s previous festivals had also been held at Irvine Meadows made this an especially poignant farewell.

Taylor Hawkins, of Foo Fighters
fame, joined by Stephen Perkins

The only good thing about this inevitable goodbye was how the artists rose to the occasion and turned in memorable performances that were able to solidify why live music in this scenic setting carved out into an Orange County hillside can be so special.

The day began with a special side stage performance by Chevy Metal. “Can you believe they are closing Irvine Meadows?” said singer-drummer Taylor Hawkins, who led the outfit through an eight-song set of covers. Hawkins recalled attending his first show at the amphitheater in 1982, a bill featuring a Freddie Mercury-led Queen and Billy Squier. “Let's send out the last couple of Irvine Meadows shows out in style.”

Chevy Metal’s set featured mostly faithful versions of crowd pleasing rockers, including Squier‘s “The Stroke” and Queen’s epic rocker “Tie Your Mother Down,” the band’s lesser known gem “Dragon Attack” and the David Bowie-Queen classic “Under Pressure.”

Gordon Gano of Violent Femmes.

Then the action moved to the main stage beginning just after 5:30 p.m. with a wonderful set from Violet Femmes. How great that the troupe opened things up with a fiery “Blister in the Sun” and over the course of a mere 32 minutes delivered similarly mighty takes of “Kiss Off,” “American Music,” “Gone Daddy Gone” and other infectious acoustic punk-styled songs. The trio's Oingo Boingo-meets-B-52's groundbreaking sound seems to resonate and exhibit more staying power with each passing year, as evidenced by bassist Brian Ritchie’s admission: “We were at Jack's 1st Show.”

Although Erik Francis Schrody (better known by his stage name Everlast) no longer has a commanding voice (especially during the tandem folk-rock mini set of his “Put Your Lights On” and a cover of Johnny Cash’s “Folsom Prison Blues”), a performance of House of Pain’s 1992 hit “Jump Around” got the crowd to do just that.

Shirley Manson of Garbage

For sheer artistry, the night belonged to Garbage. The band was fueled by intoxicating electronica-meets-alt rock material that was performed with both power and nuance, with Scottish singer Shirley Manson proving she remains among the most mesmerizing personalities in modern rock.

Songs spanning from Garbage’s 1995 debut to the band's latest disc Strange Little Birds afforded Manson and company to draw the audience into her world of darkness and hurt; the taut “I Think I'm Paranoid,” “#1 Crush” (with the songstress performing much of it crouched or crawling on the stage) and an ethereal “Only Happy When It Rains” provided intensity aplenty. A version of “Empty” also impressed with Manson dispelling the final line a cappella.

The Cult’s distinctive rock brand had the audience hooked much more convincingly here than when the Ian Astbury and Billy Duffy-led band opened for Guns N’ Roses at Dodger Stadium last month. As the band performed a fast-moving, hour-long set (including the riff rock AC/DC worthy “Wild Flower” and “Lil‘ Devil” as well as more sweeping material, notably “She Sells Sanctuary”), the fans around me were on their feet and even seemed to appreciate when the band veered into unknown material.

New cuts “Deeply Ordered Chaos” and “Birds of Paradise” off the troupe’s latest album Hidden City provided additional depth to the Cult outing. Hard rocking takes on “Fire Woman” and “Love Removal Machine” provided the perfect way to build things to a big finish.

Guitarist Dave Navarro, left, and Perry Farrell of
Jane's Addiction closing out Jack's 11th Show

Finishing up the night was Jane’s Addiction, whose 75-minute set allowed the Perry Farrell-led collective to perform a wide range of material. The group’s brew of hard rock (featuring tons of metal guitar work courtesy of Dave Navarro) and neo-psychedelic stylings came with a number of female dancers who performed around, amid and even overhead the band. There were blinding pyrotechnics, strong performances of material from the opener “Stop” and the band’s thrilling “Been Caught Stealing” to the closer “Jane Says” and, of course, more tributes to Irvine Meadows.

“Do we really have to shut this place down?” Farrell asked early in the band’s set. “(I've had) So many good times in here.”

Count Jack’s 11th Show as another one.

Dead & Company conjure up past glories in Irvine

Dead and Company perform at Irvine Meadows Amphitheatre on July 26, 2016.
Photo: Bob Steshetz

EDITOR'S NOTE: Robert Kinsler's review originally was posted on The Orange County Register Web site on Wednesday, July 27, 2016. A special "thank you" to Bob Steshetz for the use of his awesome photographs taken at the performance.

John Mayer performing at Irvine Meadows.
Photo: Bob Steshetz

Dead & Company
Where: Irvine Meadows Amphitheatre
When: Tuesday, July 26

What may have started as little more than a one-off tribute to the Grateful Dead in late 2015 has developed into something special. Launched by founding Grateful Dead singer-guitarist Bob Weir and modern-day singer-guitar hero John Mayer, the aptly-dubbed Dead & Company performed a marathon-length performance before an enthusiastic and near-capacity retro-attired crowd at Irvine Meadows on Tuesday night. In addition to those celebrated talents, Dead & Company features founding Grateful Dead members Mickey Hart (drums) and Bill Kreutzmann (drums), as well as bassist Oteil Burbridge and keyboardist Jeff Chimenti. 

As strong as the troupe was in a headlining tour stop at The Forum last December (READ THAT REVIEW HERE), the Irvine performance easily outdistanced that show. While both performances clocked in at about 3-1/2 hours (including a 40-minute intermission) and each allowed ample time for the band to revisit a plethora of Dead favorites, there was a musical explosiveness that set the outdoor date in Irvine apart. 

Bob Weir at Irvine Meadows.
Photo: Bob Steshetz

Opening with the laid-back blues-rock gem "Cold Rain and Snow," Mayer's nuanced lead vocals and sterling guitar work were a perfect fit with the band's loose jam approach. The follow-up song "Jack Straw," allowed Mayer and Weir to share lead vocals; the psychedelic blues vibe allowed the song to build from a more sparse section to a stronger rock 'n' roll finale, with Mayer's speedy guitar leads blending beautifully with Chimenti's fluid playing on a grand piano.

Songs frequently stretched to 10 minutes or more, and while that might not work for simple compositions, Dead & Company's prowess to blend solos amidst intricate textures in involving and hypnotic ways kept things interesting. While blues is at the heart of much of the band's sound, the infusion of rock, jazz, folk, psychedelic and even gospel elements made sure things never got boring.

John Mayer, left, and Bob Weir.
Photo: Bob Steshetz

The Delta blues-tinged "Big Boss Man" was a key highlight of the group's first set, with Mayer proving that even when using a clean (non-distorted) tone on his electric guitar, he could tear it up. Both solos in the song allowed him to showcase his speedy and affecting lead guitar work. The next tune, the New Orleans-styled "Mississippi Half-Step Uptown Toodeloo," was marked by the beautiful vocal harmonies blended by Mayer and Weir. 

The second half of the concert offered just as much magic, allowing the crowd to cheer and sway to the rhythms during potent performances of "Fire on the Mountain," "Dark Star," and a flat-out rocking "U.S. Blues" that closed out the second set.

The memorable and fast-moving encore included a beautiful version of "Brokedown Palace" with Mayer and Weir once again blending their voices as the gospel Americana soundscape played out around them.

Dead & Company at the end of their concert.
Photo: Bob Steshetz

With Weir on lead vocals, Dead & Company wrapped up the magical night with a rollicking cover of Chuck Berry's iconic "Johnny B. Goode," Mayer once again unleashing masterful guitar work while Chimenti pounded away on his keyboards and the talented band of players infused the song with layers of rhythm and textures in true Dead fashion. 


Robert Kinsler

Journey, Doobie Brothers & Dave Mason launch last season at Irvine Meadows

Arnel Pineda, left, with Neal Schol.
Photo: Kelly A. Swift

San Francisco Fest 2016
Who: Journey, The Doobie Brothers, Dave Mason
Where: Irvine Meadows
When: Thursday, May 12
Next: the Chin Pavilion in Phoenix, AZ on May 14

When it was Journey bassist Ross Valory's turn to step up to the mic early in the band's set at Irvine Meadows on Thursday night, he noted this was the first night of the venue's "last season for concerts." The boos that filled the cold night were appropriate for a crowd of mostly Baby Boomers who have been attending concerts at the outdoor amphitheater for more than 35 years.

And while the imminent closure of Irvine Meadows five months from now cast a brief pall on the chilly night, the focus for the near-capacity crowd was truly all about nostalgia. From Dave Mason's opening set to the Doobie Brothers successful turn at getting everyone to sing along with its radio staples and headliner Journey's 90-minute hits-laden affair, this was an audience that wanted a soundtrack to the party. I can't remember ever being asked during a critical moment of a concert by a stranger to turn around and take a group's picture when that could have waited for the intermission.
A chatty and often inattentive crowd aside, all three artists turned in solid performances on the first night of the so-called "San Francisco Fest 2016" tour that extends through Aug. 30 with a date at Sleep Train Amphitheatre in Chula Vista (in San Diego County).

Arnel Pineda in Irvine on May 12,
2016. Photo: Kelly A. Swift

For casual Journey fans the departure of long-time singer Steve Perry in the 1990s proved to be no problem in Irvine. Arnel Pineda, 48, has been singing with Journey since February 2008 and has increasingly been accepted by fans as a fixture in the band. Indeed, at times during the show on Thursday, this writer would close his eyes while Pineda was singing and it sounded like Perry (who I last reviewed at the Bren Events Center in Irvine in March 1995).

Journey's approach in 2016 is much like it was in the late '70s and early 1980s when the Bay Area-spawned outfit was a commercial juggernaut. From the minute the band opened with the bombastic opener "Separate Ways," Journey delivered an energetic and engaging set highlighting the accessible material that has helped the band sell 90 million albums around the globe since their launch in 1973. Guitarist Neal Schon remains an amazing lead guitarist, and showcased his speedy fretwork throughout the 17-song set. Keyboardist Jonathan Cain's work and drummer Steve Smith also shined. The band's straightforward delivery of uptempo rock was occasionally dialed down for some more nuanced material, including "Only the Young" and lovely "Lights" early in the set, and 'Who's Crying Now" (showcasing Pineda's tenor) and "Faithfully" later on.    

Patrick Simmons of the Doobie Brothers.
Photo: Kelly A. Swift

Less than two weeks after performing inside a packed Palomino tent at Stagecoach in Indio, the Doobie Brothers delivered an almost-identical set of favorites in Irvine. Opening with "Jesus Is Just Alright" and turning right into "Rockin' Down the Highway," founding members Tom Johnston and Pat Simmons (both juggling lead guitar and lead vocals duties) and their top-tier band of supporting players performed both well-known and some lesser-known songs that worked well in concert. Particularly beautiful was the acoustic-flavored "Another Park, Another Sunday," featuring Johnston's effective lead singing. But it was the last half of the set that got the crowd excited, with the bluesy "Black Water," and rollicking "China Grove" and set-ending "Listen to the Music" getting the crowd on their feet and singing along.

Dave Mason in concert.
Photo: Kelly A. Swift

Rock and Roll Hall of Famer Dave Mason, who earned cheers when he announced he had turned 70 earlier in the week,  showcased highlights from his solo career and time with Traffic. Both his voice and electric guitar work remain credible, with highlights including the acoustic flavored "We Just Disagree," his '68 Traffic hit "Feelin' Alright" and a powerful version of Bob Dylan's "All Along the Watchtower" - the latter including at least three guitar potent solos with a powerful 90-second foray closing out the track. 

It may have been lost by many in the crowd, but Mason played 12-string guitar on the 1968 Jimi Hendrix Electric Ladyland recording and it was thrilling to see Mason revisit the classic to kick off Irvine Meadow's final season. 

Review by Robert Kinsler

Photos courtesy of Kelly A. Swift

Rascal Flatts bring Riot Tour to Irvine Meadows

Rascal Flatts brought their Riot Tour to Irvine Meadows on Saturday night (Oct. 3, 2015), a concert that deftly mixed the trio's best-known hits with a short medley of convincing covers in a crowd-pleasing 90 minute concert.

Singer Gary LeVox, bassist-keyboardist-singer Jay DeMarcus and Joe Don Rooney have been honing their style of country-pop for 15 years, and this tour is particularly a strong showcase for their songs thanks to the addition of an exceptional female vocal trio to their backing ensemble. The addition of the voices added depth wherever they were used, notably on the set opening "Stand" and gospel-tinged track "Riot" early in the night and the group's new R&B-flavored single "I Like The Sound of That" later on.

Rascal Flatts rocking out early in their set.
Photo: Robert Kinsler

After performing their second song (an upbeat "Me and My Gang"), Rascal Flatts succeeded in delivering one of the strongest moments of the concert, a poignant medley where they performed part of the Bee Gees' "To Love Somebody" before weaving that classic into a more extensive section of Hozier's contemporary hit "Take Me To Church."

But everywhere Rascal Flatts thrilled the enthusiastic near-capacity crowd with rousing versions of its biggest hits. The melodic "What Hurts the Most" was bolstered by full harmonies from the band members and female vocalists, and included some top-tier electric guitar work from Rooney. "My Wish" was launched as a pretty piano-anchored ballad that included a crowd sing-along; the song artfully grew in power to include the female singers' voices and Rooney adding a soaring lead guitar solo. "Banjo" was a particularly effective choice, with the country rocker fused with a good dose of bluegrass.  

Rascal Flatts ended the night with a powerful version of the 2005 hit "Bless the Broken Road" and a freewheeling take of their 2006 Tom Cochrane-penned hit "Life Is a Highway."

Opening for Rascal Flatts was American Idol Season 10 winner Scotty McCreery, who performed a 35-minute set of country that straddled traditional outlaw influences with contemporary country pop. He used his rich baritone to perform energetic country selections such as "Now" (off his second album "See You Tonight" album) and his 2011 hit "The Trouble With Girls," but the 21-year-old North Carolina native impressed most with a heartfelt tribute to Merle Haggard, Johnny Cash and Alabama with a sure-fire medley of "Mama Tried," "Folsom Prison Blues" and "Mountain Music."

Opening the night was RaeLynn, whose brief 18-minute set reached its zenith with her acoustic-flavored "For a Boy" and the even more infectious "God Made Girls."

Robert Kinsler

Daryl Hall and John Oates, Mayer Hawthorne deliver a night of pop, rock and plenty of soul in Irvine

Photo credit: Kelly A. Swift

Daryl Hall and John Oates, Mayer Hawthorne
Where: Irvine Meadows
When: Sunday, Aug. 30, 2015

The resurgence and reemergence of Daryl Hall and John Oates over the past few years has been extraordinary. Among the first few times I caught the pair live in the mid-90s included one that was a free show (with the price of admission to The Orange County Fair) at Arlington Theater, while another performance played out inside an intimate venue inside a casino in Las Vegas. 

But over the years the rock 'n' soul pioneers' reach has continued to grow. Big time. In 2013, the twosome played at the Pacific Amphitheatre in Costa Mesa, filling the 8,500-seat outdoor venue. In April 2014, there was universal praise when Hall and Oates were finally inducted into the Rock and Roll Hall of Fame.

Daryl Hall, left, and John Oates on Aug. 30, 2015 in Irvine.
Photo credit: Kelly A. Swift

Fast forward to a beautiful late summer night in 2015. Performing at the largest major concert venue in Orange County, CA on Aug. 30, the duo and an amazing six-member band performed a 90-minute headlining show at Irvine Meadows (with a capacity of about 16,000) packed with fans who were cheering, clapping and singing along with an energy that was never less than infectious. Frankly, I had to smile thinking about how the Philadelphia-spawned duo long ago perfected a fusion of rock, pop, and rhythm and blues that has finally been recognized with the widespread accolades – and good-sized audiences – they deserve. Just as The Beatles are widely and wisely recognized as the greatest rock band of all time, Hall and Oates shine as the most successful duo of the rock era. 

Daryl Hall on Aug. 30.
Photo credit: Kelly A. Swift

Whether performing their number one radio hits or timeless soul classics, there was a power and authenticity that kept the concert on track. When a driving dance-minded version of "Maneater" and vibrant "Out of Touch" (both No. 1 Billboard hits) kicked off the set, there was a sense this was going to be a special night. Although Hall and Oates are both in their sixties, their vocals and musical chops remain fully intact. 

Hall's still-amazing voice is often the first thing that jumps out to casual listeners, but the Irvine concert allowed the rich range of oft-hidden elements to be showcased that make Hall and Oates' singular sound so essential. Both men are terrific singers and songwriters, and Oates' outstanding rhythm and lead guitar work added magic to a number of songs, notably during the introduction of "Did It in a Minute" and "Say It Isn't So," the latter where he traded playful licks with long-time celebrated sax player Charles DeChant. 

John Oates rocking on Aug. 30.
Photo credit: Kelly A. Swift

Oates and Hall shared lead vocals on "You've Lost That Lovin' Feelin'," featured on the Hall and Oates 1980 album Voices. It was a powerful performance, bringing together the strengths of all the musicians and singers on stage. When the song ended, Hall couldn't help but remark: "Now that's a good song."

And plenty of good songs (make that, great songs) were embraced by the crowd all night. Oates' delivery of the early gem "Las Vegas Turnaround (The Stewardess Song)" from the duo's 1973 album Abandoned Luncheonette and Hall's vocal gymnastics on "Do What You Want, Be What You Are" showcased the deeper parts of the pair's rich catalog.

And of course, the crowd couldn't get enough of the hits. "She's Gone," "Sara Smile," "I Can't Go for That (No Can Do)," "Rich Girl"  (with guitarist Shane Theriot and Oates trading solos), "You Make My Dreams," "Kiss on My List" and the celebratory night-ending "Private Eyes" were among the many sonic riches delivered with style and sway.

Singer-songwriter Mayer Hawthorne opened the night
with a solid set of memorable songs.
Photo: Kelly A. Swift

Concert opener Mayer Hawthorne impressed with a solid and entertaining 40-minute set of pop 'n' soul that was accessible and recalled a range of influences including Michael Jackson, Earth, Wind & Fire, and Hall and Oates too.

This was my formal in-depth introduction to Hawthorne, and I was impressed by a number of his selections, notably the irresistible ballad "I Wish It Would Rain" featuring Hawthorne's amazing falsetto vocals, the reggae-meets-R&B tune "Allie Jones" and funky set-ending "The Stars Are Ours."

Review by Robert Kinsler

Photos courtesy of Kelly A. Swift

Rush thrills fans at Irvine Meadows

Singer-bassist Geddy Lee (on screen) looks on at drummer Neil Peart
and guitarist Alex Lifeson on July 30, 2015. Photo: Robert Kinsler

Rock fans either get Rush or they don't.
Fortunately, the crowd that filled Irvine Meadows Amphitheatre in Orange County, CA on Thursday night (July 30, 2015) gets singer-bassist-keyboardist Geddy Lee, guitarist Alex Lifeson and drummer Neil Peart. Big time.

For just under three hours (including a quick 15-minute intermission), the Canadian rock trio that was finally put into the Rock and Roll Hall of Fame in 2013 and unbelievably has yet to ever earn a Grammy Award displayed why they remain one of rock's most enduring and groundbreaking bands. The latest stop on their ambitious R40 Live 40th Anniversary Tour, the threesome performed a mix of well-known radio staples, dazzling prog-rock gems, '80s synth rock tracks and deep album cuts that left everyone thrilled.

A Rush show works on a variety of levels. First and foremost is the musicianship. Lee's ability to handle high-flying lead vocals while playing intricate bass parts and frequently jumping to keyboards to add sonic layers to the lush arrangements was a wonder, particularly during the potent "Early Distant Warning" and magnificent follow-up "Subdivisions" that closed out the incredible first set. Lifeson's work on guitar was likewise a wonder, whether working his electric guitar of the moment while using a Wah-wah foot pedal on "Headlong Flight," or masterfully fusing power chords and urgent lead guitar on "Early Distant Warning" or "Roll the Bones." 

Drumming legend Neil Peart was a wonder all night.
Photo: Robert Kinsler

While master drummer Neil Peart never fails to impress (as he did during a stunning five-minute drum solo offered up in the second half of the concert), what remains a wonder is how at age 62 he remains so unique. No drummer has been able to match his ability to blend his level of technical prowess behind a drum kit that simultaneously fits impeccably into the style of the playing by his band mates and the songs themselves.

The high level of musicianship and connection the three members of the band have with each other might well be enough, but it was clear in Irvine that the additional ingredients including the range and strength of the trio's complex (and, yes, accessible) songs as well as the winning blend of video projections, lasers, lights and concept films all positioned in exactly the right space made for a fast-paced and incredible night or rock 'n' roll theater.

"Jacob's Ladder," a choice cut off the band's 1980 release Permanent Waves, was particularly effective with its spellbinding textures and instrumental firepower. Not much later, those same impressive elements came together on "Xanadu." And how great was it to hear the band tear through a good-sized chunk of its 1976 progressive rock epic 2112? Just ask any of the countless fans playing air guitar and bass all night long.

Amidst all the creative elements and with the energy of the enthusiastic faithful, the concert sped to its inevitable ending, with a dynamic "What You're Doing" and night-ending hard-rocking take on the band's "Working Man."

A photo taken of a rear projection screen at the beginning of the Rush concert on July 30, 2015.

Setlist for Rush on Thursday, July 30, 2015

First Set 
The Anarchist / Clockwork Angels / Headlong Flight (with 'Drumbastica' mini drum solo) / Far Cry / The Main Monkey Business / One Little Victory / Animate / Roll the Bones / Distant Early Warning / Subdivisions
Second Set
Tom Sawyer / YYZ / The Spirit of Radio / Natural Science / Jacob's Ladder / Cygnus X-1 Book II: Hemispheres Part I: Prelude / Cygnus X-1 Book One: The Voyage Parts 1 & 3, (with five-minute drum solo) / Closer to the Heart / Xanadu / 2112 Part I: Overture / 2112 Part II: The Temples of Syrinx / 2112 Part IV: Presentation / 2112 Part VII: Grand Finale
Encore
Lakeside Park / Anthem / What You're Doing / Working Man

Robert Kinsler