July 25, 2010 – These days, there’s a little extra spring in the steps that Carlos Santana takes on stage, and a wide smile on his face as he plays. Why, you ask? Well to put it simply, the legendary guitarist who introduced the world to latin fused rock music is in love. Santana is on tour billed as Universal Tone with Steve Winwood, so he’s riding not only a high of performing in front of fans, but the high of proposing to his now finacee on stage just earlier this month. Ever since, there’s been a renewed spirit in Carlos that’s quite noticeable.

Sunday evening’s concert in Washington, DC at Jiffy Lube Live was no exception. In a performance that lasted over two hours, Santana showed the crowd (with a little help from Steve Winwood) that there’s still a whole lot of life in the songs that defined a different time, but there’s room for new experimentation, too.

Opening a show with three brand new songs in a row is a risk that few musicians would be willing to take. But that’s exactly how Steve Winwood began his tight set of guitar and organ jams that spanned his entire musical career. He was seated at his Hammond organ for the first two of the night; that signature tenor gliding over the top of newly crafted songs. But the momentum didn’t really pick up until “Dirty City” brought Winwood to the guitar, and he began to interact more with the band behind him.

When Steve Winwood picks up his Stratocaster, you know it’s going to sound good. He claimed a center-stage spot, and blistered away on the guitar surrounded in a semi-circle by his band. Hits from Blind Faith and Traffic followed, and the groove just got tighter and tighter. It felt more like a fun studio jam among friends than a rehearsed concert when the songs were extended and sections elaborated. They had the crowd on their feet for a grand finish of “Gimme Some Lovin’“.

Carlos Santana packs a lot of people on stage to help him deliver the spicy guitar licks that he’s become famous for. Backup singers, percussionists, and horn players were among those who formed the sound known as Santana for the enthusiastic concert-goers. Starting off with latin inspired selections from his 1999 runaway Supernatural album, Carlos and the band collaborated on stage to present a clean, but layered mix of guitar and vocals.

The star of the show looked just as one would expect. Guitar in hand, long locks of curly black hair, topped off with a hat and sunglasses. Yes, Carlos Santana may have stuck to safe bets when it came to his wardrobe, but he wasn’t about to do the same with his music.

Despite his cool demeanor, Carlos wasn’t very coy about sharing feelings when it comes to love and life. In fact, he could hardly wait until after the first song finished to tell the crowd about his recent engagement to drummer Cindy Blackman. “I’m in love, and I’m so very happy,” Santana proclaimed in a rather lengthy chat with his fans.

“I’m happy because my woman is happy. Let me tell all the men that you need to make sure that you keep your love happy, because if you don’t, nothing will go your way, he warned. “Not even Barack Obama will be able to help you!”

But there were no more one-liners after that, as the focus quickly switched from the spiritual aspects of life to the spirit of Santana’s music. The rich sound of lively percussion complimented Carlos’ emotional playing, as he sported a smile that seemed to say “this sounds good”.

But aside from the clear-as-day tone emerging from from his guitar, Santana commanded little attention to himself on stage. Choosing to play in the background behind members of the band more than he chose to play near the front and center of the stage, it seemed unusual at times when his two male singers were hamming it up more than the master.

Santana’s guitar work ranged from the strictly traditional to the highly improvisational, especially noticeable as he worked new sections of notes into the well known solos of “Oye Como Va” and “Black Magic Woman“. Other song choices included danceable favorites like the irresistible “Smooth“, and choices like Cream‘s “Sunshine of Your Love” that had to be favorites for guitar enthusiasts.

That latter track will make an appearance on the forthcoming Guitar Heaven album, along with “Can’t You Hear Me Knocking“, another song that was tested out in front of fans at the concert. The result was an overwhelming success, but one has to wonder what would have happened if the band would have broke into a different song from Santana’s upcoming album – say, AC/DC‘s “Back in Black“, for example. But then again, if anyone could give that song an R&B infusion, it would be Carlos Santana.

Keeping things interesting, Winwood returned to the stage for one song with Santana. It would have been a thrill to see both guitar players in action, but alas – he took to the organ. Still, seeing the two together in concert is something special regardless of instrument.

There’s a humble aura that radiates from the performances of both Carlos Santana and Steve Winwood. They’re brilliant players who deserve all sorts of attention from fans, but they don’t seek it anymore. It’s the spirit of the music, not the glory of rock star fame that attracts them to the stage time and time again.

With sets of hits that encapsulate both psychedelic and latin influences to bring it to life all over again, the two are are a match that can’t go wrong.

July 21, 2010 – There are few bands that can seamlessly combine wacky humor and seriously stunning musicianship into one epic performance. But Rush makes it look natural. Yes, the three hour shows, the thousands of dedicated fans, and the chefs on stage – it’s all happening once again. The trio is back on the circuit with a couple new twists: time machines and moving pictures.

It was a true celebration of all things Rush at the Susquehanna bank Center on Wednesday night, both the humorous and the meaningful. The band took a break from touring last year, and judging by the sheer amount of Rush t-shirts being worn and lyrics being sung, they were missed. A lot.

It’s become law that all Rush shows must begin with a funny video clip. So in that sense, the opening video titled “Rash: The True Story of Rush” was simply for procedural compliance. The strains of “Spirit of Radio” were a key element of the video, so it was a bit of a shock when the song started up again but was being played now by the real deal, instead of the characters on screen. Geddy Lee and Alex Lifeson emerged from the sides of the stage and the rockout began with Neil Peart holding things down center stage.

Three men on stage have never been such a sonic powerhouse, but then came Rush. Peart’s intricate drumbeats mesh with Lifeson’s guitar pyrotechnics and Lee’s hyperactive bass style to create a sound that simply is offered nowhere else. Behind all the brilliant musicianship, the guys by all accounts seem to be having a party of sorts as they play. Alex brings his humor to the forefront at times, while his other personality seems to be the focused, guitar-faced axeman.

Rush always digs deep through their own past to dust off old obscurities, but this seemed like an especially fitting thing to do during a show focused around time travel. “Presto” and “Stick It Out” seemed to be favorites of Geddy, who sang brightly and thumped away on his bass with a little extra zing. And then others, like “Time Stand Still“, were just too fitting to be left out. Despite being far from ever seeing radio play, there was no shortage of fans who were able to sing along to the deeper cuts.

But it was those Rush classics that were consistently stunning to hear. Geddy gave it all his lungs could muster and then some to nail the high notes during “Freewill“, and Alex didn’t want his “Spirit of Radio” guitar solo to ever end. The only other song that came close to achieving the level of power of a Rush classic was oddly enough, a brand new song titled “Caravan“. Fans who downloaded the tune upon its release in June on iTunes were in on the secret of it being an explosive rock jam. It has a strong melody that’s meant to be played live, and is packed with moments of glory for all three players – but Geddy’s punchy bass line during the instrumental break just might have stole it.

All that music business aside, there was plenty of eye candy in the form of cool stage frills to be had. For much of the show, a myriad of shifting and rotating lights had the band swamped in vibrant colors. And the gear behind them could simply be described as a dream come true for anyone fascinated with time travel, or anyone who appreciates cool gadgets.

Lifeson’s amplifiers are enclosed in custom, antique-fashioned cabinets, complete with steam valves, small video screens, dials, and knobs with the sole purpose of – you guessed it – looking cool. It was a visual feast that complimented the superb sound of the band.

Rush is bringing one of its classic albums out of the time machine this year. You might be wondering how the 30-year-old Moving Pictures album holds up in a modern live show. The ethereal keyboard tones do sound lifted from another time, but they’ve aged more like a fine wine. From its hits to its seldom played songs, the performance of the album was heartfelt and cheered all the way through by fans.

The past was given plenty of homage, but current works were far from left out. Still receiving play in addition to the two freshly penned songs are three choices from 2007′s Snakes & Arrows album, and a pair of songs from 1993′s Counterparts (close enough to this decade).

Geddy Lee carried through the set vocally without many flaws, but no doubt appreciated the fact that his band has plenty of instrumental selections to choose from. “YYZ” brought out another level of energy from the band; it’s one rocker that just doesn’t get old. The sounds of the 1993 cut of “Leave That Thing Alone” put the crowd into a daze, but that’s not to say that the bizarre imagery of cartoon animals on the LCD screen didn’t help.

There’s never really been any sort of shortage of stamina among the members of Rush, and this concert was no exception. Peart’s endurance on drums was exceptional, his skill culminating in one of those drum solos that makes a jaw drop. Accomplishing the moody and earthy tones of “Marathon” and the downright heavy crunches of the new piece “BU2B” was a piece of cake for Lifeson. And although Geddy Lee is most known as the fiery bassist, his keyboard expertise can’t be forgotten.

Their catalog of music does span back more than 35 years, but its a living and breathing entity that seems to be given new life with every concert. There’s no need for a time machine to track down Rush performing in their prime – its happening right now.

July 16, 2010 – The ’90s may be a decade come and gone, but that’s not to say that a brief revival can’t take place (at least for a few hours). Alternative and punk rock’s highest chart toppers from the era – 311 and The Offspring – have teamed for a summer tour, and nothing’s going to get in the way of the nineties nostalgia. The Offspring grounded themselves on the strength of their popular radio material for a largely predictable but entertaining set, while 311 sought out the fans’ attention with stage moves that begged to be photographed.

Led by frontman Dexter Holland, The Offspring wasted no time in bringing the mosh pit to life. Although the band’s members were mostly stationary on stage, the lighting rig was in constant flux and the hits each arrived with a roar of excitement from the fans who packed themselves into an area far too small for a humid, 95 degree evening. “Pretty Fly (for a White Guy)” and “The Kids Aren’t Alright” showcased a familiar, signature sound that has evolved very little over time. But you won’t hear any complaints from those who recall the strains of each song from their younger days.

The lyrics in tunes like “Why Don’t You Get a Job” do lose some credibility when being sung by men in their 40s, but the fans didn’t seem to have any trouble relating. Everyone from young couples to old friends to even the more odd pairings of mother and daughter were singing along to their favorites.

311 was in popular demand by the time The Offspring had left the stage. Chants grew louder and louder from the pit, and the heat seemed to grow stronger when the crowd lights stayed on for what seemed like far too long. But finally the music began and the lights dimmed, and the band emerged to give the fans just what they came for. “Down” started things out with plenty of activity as S.A. Martinez and Nick Hexum crisscrossed each other on stage.

The rest of the group maintained a lower profile while playing, but they were all heard through the massive sound that came from the front speakers. Jumping up in the air with his microphone, Hexum didn’t seem to mind the heat, and nor did the fans. Fists were aimed at the sky as the sweltering evening carried on with more material from the most popular of the band’s albums.

311 didn’t mess around, they set the volume high and cranked up the lights for much of the set. Even in a recession plagued concert market, the Unity Tour seems to once again have found leagues of fans willing to spend on the loud, adrenaline filled shows.

July 14, 2010 – The crowd is dancing and the sound of sonar is in the air. It can only mean one thing – The B-52s are in concert. But what else if not fun beats and strange sounds would be expected from the infamous party band. At Vienna, Virginia’s Wolf Trap Center for the Performing Arts, the group arrived with their signature hits and some new material, along with plenty of animation.

Opening act Supercluster may share the same hometown as the headliner, but they don’t share much talent; the set was a disappointment. But fortunately the B-52s were standing by to set things straight, and soon went about their duties with catchy riffs reminiscent of a more fun, zany time. “Wig” and “Mesopotamia” set a danceable tone for the rest of the show as both the band and the crowd were on their feet and moving to the music.

Free spirited singer Kate Pierson is a blast to watch and hear on stage as she shakes, shimmies, and lets her voice soar. That bright red hair is now a band trademark, and the show just wouldn’t have been the same without it. Often at her side, Cindy Wilson was in fine voice as she traded between dancing and bongo tapping.

As for the males in the band, Fred Schneider’s behavior on stage hasn’t changed much in the group’s history. Tossing his hands in the air and giving a very familiar monotone performance, it felt like the same old concert that could have seen decades ago. Keith Strickland by far maintained the most restrained demeanor, but that didn’t stop him from ripping it up on the guitar from time to time.

Together, the constant switch between female and male vocalists provided the unique sound that made the band famous, and stayed remarkably true to the original recordings.

The four didn’t have too much to say while sharing the stage, but a glitch during “Love in the Year 3000” did bring out some spontaneity. “I think the phasers wiped out our backing tracks,” quipped Fred Schneider after the song came to a sudden halt just one minute in.

Glitches behind them, the rest of the show was smooth sailing, and great listening. The band tested out a few selections from their newest work, Funplex. The title track was a success, but the crowd was less receptive to “Hot Corner“. Still, the new songs sound so similar to the old classics that none of them could ever disappoint.

But the clock was turned back to the ‘70s for fun favorites like “Planet Claire”. Pierson and Schneider took turns wandering around the stage in a faux trance during the song’s haunting rhythms, and the crowd ate it up. There was even additional space age beeping in the form of a flashing gadget waved around by Schneider. And the song’s impossibly high notes were handled by Pierson with ease.

There’s nothing serious about a B-52s concert, except some serious dancing of course. That’s one reason why the fans are still showing up in droves. And the other? Who would pass up the opportunity to hear “Love Shack” live.

July 11, 2010 – 35 years into his diverse musical career, there aren’t too many things that Sting hasn’t tried. But touring across the country with a full orchestra – yes, that just might be one of them. Although the concept may seem foreign at first, the implications of such a show are quite clear – it surely means Sting’s classics reworked with a full instrumental twist. Although the “Symponicity” concert at Bristow, Virginia’s Jiffy Lube Live lived up to those expectations, the performance was not without its surprises.

Singing proud with joyful movement and expressions at the start of the show, Sting was quickly in command of both the crowded stage behind him and the thousands of fans in front of him. He playfully danced and tapped percussion as the orchestra and backup band pumped out the peppy tones of “If I Ever Lose My Faith in You”. The delicate acoustic blend of Sting and the Royal Philharmonic Orchestra rippled through the amphitheater, and a great evening of music had begun.

The flavor of each selection ranged from the flirtatious delivery of “Every Little Thing She Does is Magic” to the emotion stirring notes in “Why Should I Cry for You”. Like the crowd, at times the Englishman appeared lost in the moment too – it wasn’t uncommon to find the singer locked in a deep gaze while singing reflective lyrics about love and loss.

Without the comforts of his bass guitar, it was pure pipes that were charged with keeping the show alive. Fortunately, Sting’s voice sounded great from the start, with its retained range and power setting in fully during the challenging moments of “Every Little Thing”. Although he may be more suited to sing atop traditional rock guitar, the orchestra brought his unique tone to the forefront.

Harmonizing to Sting’s right was the talented Jo Lowry, who lit up the evening in her own right with contagious energy and a voice that could kill. She worked herself into a downright frenzy during uptempo numbers like “She’s Too Good for Me” and “Next to You“.

The musical arrangement of songs varied greatly, but shared an overwhelming success. Some sounded not too far removed from studio counterparts, while “Roxanne” was unexpectedly stripped down to its core. But from start to finish, the 26 song set was both cohesive and diverse. And it almost goes without saying that the orchestra was skilled, they’re the Royal Philharmonic after all.

Although the Virginia crowd seemed to be enjoying the live performance, it took the familiar strains of “King of Pain” to bring them up on their feet to stay. The consummate entertainer, Sting even brought out matching dance moves for the exotic beats of “Desert Rose“.

If the stunning visual presentation wasn’t convincing enough, Sting clearly arrived with a full arsenal of weapons: his signature, soaring voice to win over the critics and fans alike, his charm to please the ladies of the audience, and the Royal Philharmonic Orchestra…to cover anything else. Some live experiments work and others don’t, but Symphonicity is certainly a notch in the success column.

June 25, 2010 – It’s not just about the music anymore for Ted Nugent. In addition to packing along plenty of guitar heat for his anticipated performance in Fredericksburg, VA, the Nuge also brought plenty of guns…and ammo.

But followers of the “Cat Scratch Fever” Ted (and maybe not big fans of the machine gun wielding Ted) need not to fear as the self-proclaimed Motor City Madman still is a force to reckoned with behind his guitar and microphone. The set was packed tightly with loud playing and the rock classics that made Nugent a household name. It’s all about the attitude for the 61-year-old rocker who just can’t seem to get enough of the stage.

Playing in close proximity to both the nation’s capitol and the 4th of July, Nugent’s typical choice of the Star Spangled Banner as an opening tune was especially fitting. Dressed in a torn jacket with an American flag guitar in hand, he was clearly psyched and ready to deliver the goods that Fredericksburg wanted; blazing riffs with a little bit of gun talk mixed in. “Does anyone here like machine guns?” Nugnet polled the crowd. There was arguably no better place to be than in front of Ted on a warm night in semi-rural Virginia.

He may not be negotiable in his stance on the 2nd Amendment, but that doesn’t mean that Ted Nugent’s afraid to tell a joke or two. “I’ve been told that you have a deer problem in Virgina,” he began. Then came one of those punchlines that only Nugent can deliver. “Well back where I come from, the deer have a Ted problem. It’s like a tea party for venecin.”

He wasn’t done, either. “I like the tea party, but I’d rather have a gun powder party.” Then without blinking an eye, he adjusted his position on the guitar and tore into the menacing rhythm of “Love Grenade“, an instant classic written in 2007.

There’s no messing around when Nugent has his guitar in grip, his intense focus is only broken by spontaneous screams. As each tune was finished, the sweat was wiped and a pick flung in the air to a patch of extended hands. With remarkable efficiency, he gets the job done.

Dokken drum hero Mick Brown pounded the backbeat of Nugent staples like “Cat Scratch Fever” and “Free for All“, no doubt feeling pressure to match the aggressiveness of his leader’s screaming and riffing.

Nugent calls every tour the best of his life, and there’s no reason to believe that he’s not having an absolute blast while tearing across the United States on a tour he bills as “Trample the Weak, Hurdle the Dead”. There’s even a catchy tune and matching riff designed around the phrase; it didn’t take long for Fredericksburg to catch on.

When the dust settled after a rousing rendition of “Great White Buffalo” (and yes, he broke out the signature headdress), the verdict was clear. Uncle Ted won’t be putting his guitar down anytime soon.

June 29, 2010 - “Love is on the Run” this summer, as two superstar arena rock acts have teamed up on the road to spread a little love along with the music. REO Speedwagon and Pat Benatar became smashing successes 30 years ago, but the energy and passion from those early days has yet to leave the scene. Playing to a tightly packed crowd at the Wolf Trap in Vienna, Virginia, Pat Benatar used her razor sharp vocals to rip her own songs to shreds, while her male counterparts in REO Speedwagon left the crowd stammering from a performance that could only be described as a flawless rock party.

As the stage’s impressive lighting rig and lit screens were unveiled, it was evident that an explosion of sound was due at any minute. To a roar of cheers, the fiery red-haired Pat Benatar emerged on stage with husband Neil Giraldo at her side. Sporting a tremendous vocal range, great looks, and seductive dance moves, the same elements that originally gravitated fans and critics alike to Benatar were immediately present.

The opening selection of “All Fired Up” indeed had the effect of an ignition on Benatar, who quickly went from sporting a casual smile to screaming with aggression into her microphone. Yes, she’s still got it, and all that husband Giraldo could do was grin and play.

The familiar quality and style of Pat Benatar’s delivery stirred up the crowd, and her genuine presence – the sense that every lyric mattered and was tied to memory – was icing on the cake. Her words during the keyboard-laden introduction to “Promises in the Dark” sounded remarkably full of emotion and pain, not a terrible feat when singing a song written long ago.

The back and forth interaction between the unique wife-and-husband pair of Benatar and Giraldo produced several memorable moments during the show, particularly during the acoustic portion. It during this part of the set when the chemistry between the two was at the forefront as jokes were traded about daily life in their household. Undoubtedly rockers for life, both musicians appeared right at home while seated next to each other with a guitar in hand.

The acoustic session also brought out the full purity of Benatar’s voice. Although straining high notes are sometimes avoided, the rich yet rough timbre of her voice was more than enough to send chills through the amphitheater during her emotional delivery of “We Belong“.

Love and chemistry were two elements brought to the forefront during the set (this is the Love on the Run tour, after all), but there was more than enough straight-up rock to be had, and it was all done in the classic Benatar-Giraldo style. Yes, although Pat is the main attraction, the show’s axeman can’t be forgotten either. Trading licks with his wife’s lyrics, Giraldo had his own moments of stardom when tearing through guitar solos and familiar riffs.

Benatar’s one of a kind rock attitude emerged on “Hit Me With Your Best Shot“, despite being reluctant to even perform the classic.

“I’m 57, and this song is so old that I’m only going to sing it if you fill in on the chorus,” she bargained. Fans happily obliged, and as expected, Benatar kicked it. From the arena-filling yells to the struts on stage, her stamina was nothing short of incredible.

Not to be outdone, REO Speedwagon packed a huge flow of energy along with their massive catalog of hits. Making a pronounced entrance for themselves with “Don’t Let Him Go“, Kevin Cronin and the rest of the gang were on the move from the start. Stuck in 1980 for the first group of songs, the concert was initially a 30 year celebration of Hi Infidelity, the smash album that spawned songs like “Keep on Loving You“.

With an immaculate sound and youthful stage energy, the trio of ‘Infidelity’ songs likely brought a big flash of high school memories back to much of the crowd. REO Speedwagon is an act that has truly perfected the formula of the classic rock concert, seizing nostalgia and using it to their advantage in the creation of a party from the past.

The hits were literally stormed through by the five-piece as the benefits of retaining the same lineup through over a decade of touring paid off fast. Harmonies were crisp and the rhythm section tight, with the familiar voice of Kevin Cronin singing high above it all.

Despite the rigor, Cronin’s energy was uncontainable from start to finish, strumming away at his guitar with a wide smile and sharing his free spirited attitude with fans in the process. Looking fantastically fit for his age, his voice retains its famous flair, and if anything his stage moves – from air leaps to wild guitar swinging – have only intensified over time. The enthusiasm on display suggested that Cronin and the rest of REO Speedwagon retain a strong pride in every song.

The band may take flack in some rock circles for its ballads, but make no false assumptions. When push comes to shove, REO rocks hard. “Back on the Road Again” featured bassist Bruce Hall at the microphone, along with smoking guitar work from Dave Amato.

“This is the classic rock heavy artillery, people!” screamed Cronin during the song’s introduction. But in reality, the band’s entire set was heavy artillery with few breaks. One of those rare exceptions was a new acoustic track, “Can’t Stop Loving You“, written and performed by a solo Cronin. It didn’t quite pack the memorable chorus of the band’s finest work, but its genuine lyrics and familiar storyline resonated with the Wolf Trap crowd.

REO Speedwagon and Pat Benatar have never given up performing, and some might find that to be unusual. But perhaps there’s no reason to abandon one’s natural element. The sparks that Pat Benatar still generates on stage are real. And REO Speedwagon? Their claim that they’ve never stopped rocking is accurate. For some, there’s no place quite like the stage, and these two acts won’t be leaving it anytime soon.

Story and Photos: Todd Becker, Rock Concerts Correspondent

June 25, 2010 – There are some singers who just never seem to change. Paul Rodgers, “The Voice” as he’s often referred, provided Walker, Minnesota fans at the Northern Lights Casino a true Rock ‘n’ Roll fantasy as he played through a hard rock filled set, Bad Company style. As he sported a contagious smile and fed energy to the crowd, it was evident that Rodgers was born to sing live.

The ever ageless frontman started off the night with “Can’t Get Enough,” quickly bringing every fan up on their feet to stay. “Rock ‘n’ Roll Fantasy” followed as Rodgers continued to barrage through established Bad Co. hits with ease.

Midway through the set, Rodgers announced that they would play “Closer” with a new twist for the first time. Lifted from Rogers’ short-lived tenure as a member of the 1985 supergroup known as The Firm, the song had a noticeable Led Zeppelin twist to it and was welcomed by fans.

Guitarist Howard Leese has been brought along the road as part of the Paul Rodgers Band. The Heart alum and current Bad Company player hit every chord through the show. With a powerful band behind him, Rodgers isn’t skimping on personnel, and he’s not messing around with his stage equipment either. Bright white lights and LED flashes kept the visuals interesting while the singer’s voice filled the house.

More “Bad Co” hits would follow with the Grammy winning “Feel Like Making Love,” where Paul sang every note with unfaded passion. Rodgers urged the crowd to have some fun as “Young Blood” was played, and of course fans knew all the lyrics to “Shooting Star”. The singer loved it as he smiled wide and held the mic to the crowd.

Perhaps one of the most striking aspects of a live Paul Rodgers concert is the true youthful passion on display. As fans exited the show, the excitement could still be felt as Rodgers’ vocal skill and ageless appearance were popular topics of discussion. Times may have changed, but the 60 year old rock ‘n’ roller remains potent.

June 28, 2010 - Adam Lambert caught audiences around the world by surprise with his stunning vocal and visual performances on American Idol. So naturally, the singer has set the a high bar for himself as he launches his first major tour. Although fellow Idol alum Allison Iraheta and guitar sensation Orianthi are along for the Glam Nation tour, there’s no mistaking that Lambert is the main source of hype and mystique.

Aside from the music, fans who packed themselves into the sold-out concert at Washington, D.C.’s 9:30 Club were had a rare ticket to experience Adam Lambert’s glam persona firsthand.

With flaming hot energy and a band that knew how to rock, Allison Iraheta easily impressed the club crowd. The redhead ran a dizzy of circles on stage, engaging fans from the front row to the balcony. Tracks were mostly lifted from her “Just Like You” album last year, but a cover song in the form of Pat Benatar‘s “Heartbreaker” was also thrown in. After Orianthi joined her on stage for further jamming, Iraheta became a tough act to follow.

But the 25-year-old Australian guitarist was up for a challenge. Although more focused and less frenzied than Iraheta, Orianthi gave a performance that effectively channeled both hard rock and mainstream pop. Her image on stage is similarly mixed; the black jacket gave a heavy image, while a pair of shiny white shoes suggested something more bubblegum. But Orianthi’s talent what matters, and she has an ample supply.

When it came time for the main act, the endless screams and cheers indicated that the 9:30 Club was more than ready. Following the recording of the new title track “For Your Entertainment“, the projected photo of Adam Lambert was replaced by the real thing.

Dressed in a complex mix of mostly black clothing and accessories (including an oversize top hat), Lambert offered a stage presence that was immediately haunting. His moves while performing matched the mystery of his outfit; the singer spent time ducking and lurking from side to side while building up to a piercing scream. But behind the dark and at times sinister veil draped over the concert, Lambert was no doubt having as much fun as his audience.

“Ring of Fire” brought out the theatric side of Lambert even further, and was rather reminiscent of his Idol days. But now there’s new material to be unleashed on fans as well. “Fever” offers a catchy tempo and chorus, and plenty of dancing on stage.

Clearly in his element through the entire show, Lambert was also on top of his game vocally. Fans who came to hear his now signature screams were not left disappointed as the singer held very little back. In addition to its musical merits, flashing lights, multicolor laser beams, shifting animations, and a group of stage dancers rounded out the frills of the show.

Adam Lambert is not an artist who’s afraid to stir up a little controversy. Whether he will acknowledge it himself or not, the success of the Glam Nation tour is just as reliant on mystique as it is on music.

June 21, 2010 – After 40 years of knockout success, it wouldn’t come as a surprise if just a little bit of fame would have reached Earth, Wind & Fire‘s heads. Although the band does have their expectations from the crowd (they probably wouldn’t be pleased without hearing screams and and singing voices upon breaking into the tight beat of “Let’s Groove Tonight“), there’s a very surprising aura of humility in the celebrated veterans of R&B. A 12-piece band complete with a full variety of horns, percussion, guitars, and voices, Earth, Wind & Fire gave a musically brilliant show to the fans gathered at the Wolf Trap on Monday.

Kicking things off with the groove of “Boogie Wonderland“, the three main figures of the band emerged in white jackets on the stage’s main platform. The sheer amount of energy flowing from bassist Verdine White, the showstopping vocals of Philip Bailey, and Ralph Johnson’s entertaining dance moves combine to make the trio a very memorable one.

There’s a lot of substance to the rest of Earth, Wind & Fire, too. The horn section may not be a backbone for most groups, but it certainly is for this one. Although every member of the group is hard working, there’s something to be said for the demands placed on a brass player during an EWF concert.

When the set slowed down for the delivery of some soulful ballads, it was singer Philip Bailey’s turn to shine. The 59-year-old looks closer to half his age, and the unearthly high notes he achieved during his passionate vocal delivery were truly a wonder. “He’s like a fine wine that gets better with time,” proclaimed bandmate Ralph Johnson. The sincerity in Bailey’s voice, and passion on display in the rest of the band made it clear that Earth, Wind & Fire aren’t just dance kings – they’re ballad kings too.

With constant motion, playing and dancing, choreography is a key element of the band’s stage show. The coordination of 12 musicians on stage seemed to be a tough task to handle, and indeed it was mesmerizing to watch the synchronized steps and moves during the show’s up-tempo numbers.

After spending time on mid-tempo arrangements, the crowd jumped with excitement when “September” broke out. There’s nothing wrong with those well executed ballads, but the fans at the Wolf Trap had come to dance without a doubt. Following it up with the intensity of “Let’s Groove Tonight“, Earth, Wind & Fire was on track to go out on a very high note. Although recorded over 30 years ago, these infectious classics are brought to life through a band that’s as vital as ever.

The 1970s seem distant at certain times, but very near at others. Playing to crowds eager to relive cherished classics and experience new flavors, Earth, Wind & Fire are exceeding expectations with a live show that truly showcases the finest of an era.