Category Archives: Concerts

Ritchie Blackmore Return to Rock

After nearly two decades of playing Renaissance music, Ritchie Blackmore made his long-awaited return to rock with a new lineup of Ritchie Blackmore’s Rainbow last night (June 17). You can watch video above and below.

The concert took place at the Monsters of Rock Festival in St. Goarshausen, Germany. He wasted no time in going back to one of the most celebrated moments in his catalog, opening up with Deep Purple‘s “Highway Star” (embedded above). Even though he said back in February that he was considering 70 percent of the songs to be from Rainbow, according to Setlist.fm, the 13-song set was split almost evenly between Deep Purple (six songs) and Rainbow (seven). Rainbow got the edge thanks to a cover of Russ Ballard’s “Since You Been Gone” that appeared on their 1979 album, Down to Earth. He closed with another Deep Purple classic, “Smoke on the Water.” Setlist also notes that “Soldier of Fortune,” “Sixteenth Century Greensleeves,” “Lazy” and “Burn” were written on the setlist.

Blackmore’s band consists of two veterans of Blackmore’s Night, drummer David Keith and bassist Bob Nouveau, and keyboardist Jens Johansson. Handling vocal chores, and thus given the task of replicating parts made famous by three legendary singers — Ian Gillan, David Coverdale and Ronnie James Dio — is Ronnie Romero.

Ritchie Blackmore’s Rainbow will perform again tonight, the installment of the Monsters of Rock in Bietigheim-Bissingen, Germany. Next Saturday, June 25, they will play a show at the Genting Arena in Birmingham, England. He is not planning on recording or touring beyond these three dates. “I thought I’d just get back to playing the old songs one more time,” he said last month. “My commitment lies with Blackmore’s Night – this is just a few dates for fun.” Blackmore’s Night are touring Europe and the U.S. in July and August.

Ritchie Blackmore’s Rainbow, St. Goarshausen, Germany Setlist

1. “Highway Star”
2. “Spotlight Kid”
3. “Mistreated”
4. “Since You Been Gone”
5. “Man on the Silver Mountain”
6. “Catch the Rainbow”
7. “Difficult to Cure”
8. “Perfect Strangers”
9. “Child in Time”
10. “Long Live Rock ‘N’ Roll”
11. “Stargazer”
12. “Black Night”
13. “Smoke on the Water”

 

John Mayall’s 80th Birthday in Haarlem (Netherlands)

 

At the evening of  26 march we finaly could see the eyes of “Godfather of British Blues”; John Mayall. Mr. Mayall celebrated his 80th birthday with a dynamic and flawless onstage blues performance.

JOHN MAYALL the legendary British Blues trailblazer began his setlist around 9:00 pm sharp. Mayall is a perfect exemplification on how to live and act when you hit 80. One word : REMARKABLE. His performance and intenseness made the audience astonished. It couldn’t be better. Mayall opened with “Checkin’ Up on My Baby”. After that, the real party began with John Mayall, surrounded by his incredible band of virtuoso musicians with Greg Rzab on bass, Rocky Althas on Guitar and Jay Davenport on drums.

Rocky Athas GREG RZAB JAY DAVENPORT

With songs on his Golden setlist like “Oh, Pretty Woman”, “Dirty Water”, “Parchman Farm”, “Gimme One More Day”, “Conga Square” and “Natures’ Disapearing” he headed for his “Grande Finale”.

Mayall concluded his set with a rousing rendition of “Room to Move”.

John Mayall not only showed himself as a natural born musician. He transformed “Het Patronaat” in Haarlem into a true blue base. He showed so much unfeigned enthusiasm and fun that we do not end up too soon see him. His top level blues concert took an hour and three quarters. Mayall underlined with a flourish that he is alive and blues legend: afterwards he even had any energy left to be with his fans and sign some CDs chat.

Rolling Stones at Pinkpop 2014

 

The Rolling Stones will perform at Pinkpop 2014 (The Netherlands). Festival director Jan Smeets confirmed this announcement during the official presentation of the program .

The British rock group revealed the news on march 12 itself through its their own smartphone app. The band is also on TW Classic Werchter in Belgium.

The American John Mayer will come also to Landgraaf. Mayer is planned, like the Rolling Stones on the first day of the festival, Saturday, June 7.

Pinkpop will celebrate this year its 45th anniversary. Veterans are the “most expensive act ever” according to the festival director. It’s yet clear the Rolling Stones will deposited, but for comparison: Coldplay was in 2011 the most expensive act at Pinkpop ever known. Reportedly, the band took 1.3 million.

The line-up of the 3 days are:

Saturday june 7
Rolling Stones 
Les Djinns
John Mayer
Flogging Molly
Ed Kowalczyk
Bastille
Joe Bonamassa
Haim
Epica
White Lies

Sunday june 8
Limp Bizkit
Arctic Monkeys
Editors
The Boxer Rebellion
Chef’Special
Ed Sheeran
Robert Plant And The Sensational Space Shifters
Paolo Nutini
Rudimental
Twenty One Pilots
Portugal. The Man
North Mississippi Allstars
John Newman

Monday june 9
Metallica
Avenged Sevenfold
Biffy Clyro
Rob Zombie
Mastodon
Arcade Fire
Jake Bugg
Stromae
Kodaline
Jett Rebel
Gogol Bordello
Ghost
Clean Bandit
Bombay Bicycle Club

Joe Bonamassa doet uitverkocht HMH op z’n grondvesten trillen (21/03)

Stipt op tijd klinkt vanaf een donker podium de AC/DC-hit “Highway to hell” in een bluegrass (!) uitvoering als Joe Bonnamassa het podium opkomt. Zoals altijd strak in het (Armani) pak, voorzien van zonnebril en met gitaar in de hand. Helemaal klaar voor het platspelen van de Heineken Music Hall.

De eerste nummers worden akoestisch en sober uitgevoerd met alleen conga’s en een honky-tonk-piano als begeleiding.
Bij elke nieuw nummer wordt hem een andere gitaar aangereikt, de een nog mooier dan de ander. Hij verzamelt ze ook, inmiddels heeft hij er honderden. Niet zo verwonderlijk als je bedenkt dat Bonamassa praktisch opgroeide tussen de gitaren in de muziekwinkel van zijn vader. Op jonge leeftijd kreeg hij les van blueslegende BB King waarmee hij ook toerde.

Bij het zesde ‘unplugged’ nummer (Woke up Dreaming) breekt hij een snaar en wordt het tijd voor het elektrische vuurwerk en verschijnt de voltallige band op het podium.
De geweldige band komt meteen goed uit de startblokken met een stomende uitvoering van ‘Slow Train’ gevolgd door ‘Dust Bowl’. Met elk nummer toont Bonamassa zijn klasse, iedere toon is raak en wordt strak uitgevoerd. Hij kan zijn gitaar de ene keer laten klinken als een viool en het andere moment als een grommend monster. Zijn gitaargeluid komt uit een ‘muur’ van Marshall-buizen versterkers. Perfectionist Bonamassa maakt er geen geheim van dat hij voor een ‘vet’ gitaargeluid kiest voor de ouderwetse analoge versterker.

Zijn fenomenale gitaartechniek komt goed tot z’n recht als hij op de Gibson Les Paul een subtiele uitvoering van ‘You better Stop’ ten gehore brengt als eerbewijs aan die andere gitaarheld, Gary Moore.

Het hele concert kent weinig stiltes en het tempo ligt hoog. Bonamassa’s medemuzikanten schakelen soepel over van blue-grass via Lousianablues naar stampende bluesrock. Waarbij de bandleden om de beurt een hoofdrol opeisen. Drummer Tal Bergman is de virtuoze clown van de band. Met zijn baard en lange haar geeft hij een imitatie weg van Animal, de drummer uit de Muppetshow. Toetsenman Arlan Schierbaum gaat even helemaal ‘los’ met een minutenlange solo op het Hammondorgel, tot groot genoegen van het enthousiaste publiek. Tussen al dat geweld staat de 60 (!)-jarige bassist Carmine Rojas als een rots in de branding.

Na twee uur onafgebroken gitaargeweld bedankt Joe Bonamassa het publiek “Thank you Amsterdam, you where great” en verdwijnt van het podium. Voor het, vooral oudere (50+) publiek het sein om massaal te gaan staan. Het hoeft maar kort het vertrouwde “we want more” te scanderen of Joe en zijn band komen het podium weer op. Voor een dampende bluesrock-finale waarbij Bonamassa voor het eerst zijn zonnebril afzet en met een gelukzalige grijns op zijn gezicht de laatst blueslick de zaal inslingert.

(Bron: Laura de Lange)

Beth Hart and Joe Bonamassa Live in Concert – 29 + 30 juni 2013 Carre, Amsterdam

Beth Hart and Joe Bonamassa

Beth Hart en Joe Bonamassa staan samen in Carré voor een tweetal unieke concerten. Tijdens deze concerten worden er DVD opnames gemaakt.
De kaartverkoop van dit concert start woensdag 19 december as. om 10.00 uur.

Ever since the release of the album “Don’t Explain” (September 2011), a collaboration between vocalist Beth Hart and guitarist Joe Bonamassa, fans have been talking about how great it would be if the two artists would go on tour together. Aside from a handful of joint appearances, they have never actually performed a full show together, but that is about to change…

In January 2013, the two talents are going back into the studio with producer Kevin Shirley to work on their second album. A release date has not been set, but we will inform you about this as soon as we know more.

Later that year, Beth Hart and Joe Bonamassa will be performing 4 concerts together:

June 22, 2013: Bergenhus Fortress & Castle in Bergen, Norway
June 26, 2013: Lotto Arena in Antwerp, Belgium
June 29, 2013: Royal Carre Theater in Amsterdam, Netherlands
June 30, 2013: Royal Carre Theater in Amsterdam, Netherlands

Joe Bonamassa and Beth Hart

Beth Hart heeft successen gevierd met hoge noteringen in de hitlijsten, maar ook de keerzijde van het succes meegemaakt. Het zijn de hoge pieken en diepe dalen die Beth de meeste inspiratie geven voor haar muziek. Met invloeden uit de rock, blues en gospel weet ze telkens weer de meest persoonlijke nummers te schrijven en het publiek te grijpen. Ze staat bekend om haar overweldigende en energieke shows.
Afgelopen oktober kwam haar nieuwste album ‘Bang Bang Boom Boom’ uit. Haar vorige album ‘Don’t Explain’ (2011) schreef ze in samenwerking met Joe Bonamassa. Deze samenwerking beviel zo goed dat Hart en Bonamassa in januari 2013 samen de studio ingaan voor een nieuw album. Dit album komt uit vóór juni 2013.

Joe Bonamassa staat bekend als één van ‘s werelds grootste gitaarhelden. Hij was pas vier jaar oud toen hij gefascineerd raakte door het gitaargeluid van Stevie Ray Vaughan, en op zijn twaalfde verzorgde hij al het voorprogramma van B.B.King. Vanaf dat moment heeft de energieke muzikant de schijnwerpers nooit verlaten. De laatste jaren maakte Bonamassa onderdeel uit van de all star-rockband Black Country Communion, met onder meer Glenn Hughes. In mei van dit jaar verscheen Bonamassa’s dertiende studioalbum ‘Driving Towards The Daylight’.
Beth Hart en Joe Bonamassa staan samen in Carré voor een tweetal unieke concerten. Tijdens deze concerten worden er DVD opnames gemaakt.

Beth Hart and Joe Bonamassa
Live in Concert
29 + 30 juni 2013
Carre, Amsterdam

Info + Tickets : http://www.carre.nl/

Bron: www.bleusmagazine.nl

 

Review: Jon Lord’s studio account of the Concerto for Group and Orchestra

Exclusive review by Vincent Budd for JonLord.org. Previously, Vincent wrote ’The Gemini Man: an Introduction to the Orchestral Works of Jon Lord’ published in 2003.

This studio account of the Concerto for Group and Orchestra is Jon’s final statement of his prized composition.  It is a glittering new take on his glorious opus and, for those of us who have taken the work to our hearts, we have here another superlative version to cherish. It is a deeply moving experience made even more affecting by the composer’s passing.

Guy Pratt (bass), Jon Lord, Paul Mann during the Liverpool recording sessions. Photo: Mick Gregory

 

Taking the Concerto on the road around the world with Deep Purple and hearing various other renditions over the years have clearly enabled Jon to refine the orchestral parts even further. There are some delightful additions and modifications to the scoring but, rest assured, they do not interfere with the original integrity of the work. Although, there is a certain inevitable loss of immediate, edge-of-seat tension that becomes a live presentation, conductor Paul Mann and the Royal Liverpool Philharmonic Orchestra conjure up an outstanding, vibrant, luminous orchestral display: it is a beautifully expressive and passionate performance. The group/orchestral dynamics are wholehearted and finely judged. The tutti sections are lucid and, vitally, the finer points of the scoring are fully resonant. The recording is full, sharp, and delightfully dynamic – the sound of the band and the orchestra together is simply breathtaking at times.

The most obviously divergent elements of the studio version are the performances of the new instrumentalists and vocalists. These will delightfully surprise some and disappoint others. To be sure, there are certain aspects of the band’s contributions which may take time to appreciate fully and crucial moments that do not quite bear favourable comparison to the previous accounts involving Purple. However, with due acquaintance, you will, I’m sure, soon become accustomed to the differences and happily embrace the latest members of the ’group’ and their contrasting take on the work. Very pleasingly, Jon’s Hammond provides some telling augmentations to the overall instrumentation.

That radiant clarinet melody which has become so familiar, as always, immediately brings a smile to the face and with the inspired horn statement against the strings the heart begins to quicken. The pizzicato is a joy. All is well! The opening orchestral exposition gleams majestically with fabulous new nuances. When that delightful, chirpy clarinet tune arrives and the strings marvellously reply you will, no doubt, await the entry of the band with some anticipation. Of course, Ian Paice is a virtually impossible act to follow but Brett Morgan performs exceptionally well.

Darin Vasilev very much makes the decisive first guitar passage his own. It has a highly charged, spontaneous feel yet is consummately constructed and – unlike Ritchie’s long, though exhilarating, 1969 self-indulgence – is more in proportion with Jon’s patent orchestral priorites: in fact, it is probably now a tad too short. The return of the orchestra is an astounding moment. Jon’s solo is also slightly more succinct than before but he still provides his riveting segue with the orchestra. The guitar cadenza is an unexpected, fret-melting extravaganza which, after initial misgivings, I have come to consider a major plus here. The clarinet cadenza, following the grand false ending, has now become a real tour de force. The triumphant finale is glorious as the band and the orchestra fight out for the final say. Simply awe-inspiring.

The slow movement was always a remarkable achievement. Jon’s compositional crafting and the way he movingly integrated the band and the orchestra produced a dazzling enchantment from start to finish. This studio version probably presents the most elevating orchestral rendering of the Andante yet heard. Paul Mann takes it a little slower than previously and really brings out the grace and splendour of the orchestral writing. Steve Balsamo’s more refined, delicate, less rock ‘n’ roll voice offers a highly pleasing departure from previous versions, and the addition of Kasia Laska’s female harmony adds a brilliant new dimension to this section as the two wonderfully combine.

That important moment when Jon transfigures one of his themes into an opulent Tchaikovskian gesture is magnificently played – romantic grandeur without the faintest hint of filmic bombast. Bruce Dickinson appropriately pulls off his parts duly balancing aggressiveness and finesse: indeed, he affords a glowing contrast to the proceeding vocals from Steve Balsamo and Kasia Laska and this provides a major bonus to this recording. The guitar contributions of the one and only Joe Bonamassa are stunning, and Jon’s cadenza is superbly expressive. The pastoral string quartet coda is quite wondrous. The slow movement is perhaps the most significant and gratifying departure from previous interpretations.

The third movement is one of the greatest musical excitements of our time. I never cease to wonder at this dazzling integration of the two musical forces. In terms of the new recording, this will probably be the most familiar to those who have followed the work’s progress, though there are some delightful new touches. The orchestral playing here is magnificent: the percussion and brass are stunning with telling bravura inflections. Steve Morse provides another unforgettable contribution and the organ with the accompanying strings really makes for a special moment. Sadly, the drum cadenza is little more than a brief solo and now far too fleeting. The finale where we hear themes combined in a phantasmagoria of matchless musical wonderment remains a glory of twentieth century music no less – some of the rock/orchestral interaction is here probably the most pulsating yet heard on CD – but, oh, the movement now passes all so quickly. When it finishes it is very strange not to hear a roar of approval. The silence is, as they say, deafening.

Vincent Budd is the author of ‘The Gemini Man, an Introduction to the Orchestral works of Jon Lord’

The original 1969 Malcolm Arnold/Royal Philharmonic Orchestra recording of the Concerto for Group and Orchestra is a historic, prized and beloved musical moment. It remains a remarkable achievement and still sets the pulse a-racing. The 1999 30th anniversary London Symphony Orchestra concert version was an absolute triumph for all concerned. Paul Mann’s obvious love of the work shined like a mighty lighthouse beacon and Marco de Goeij’s reconstruction of a score from the LP and the video is one of those remarkable individual endeavours for which we must be truly thankful. The essays written by Paul and Marco for the forthcoming CD will no doubt provide a fascinating and revealing read.

Some critics have deemed the Concerto for Group and Orchestra a failure. Well, if Jon failed then all I can say is: he failed quite gloriously! May God bless Jon Lord for using his musical talent and generous heart to unite different musicians and integrate contrasting musical forms into one joyous and glorious whole. The Concerto remains a unique, major, and indeed heroic contribution to twentieth century music. This was indeed ‘the best of both worlds’. It is perhaps fitting that Jon’s first orchestral work should also be his last. All those who worked on the the studio Concerto have bestowed a fabulous and fitting memorial to the composer.

This review is an edited extract from a longer piece on the history of the Concerto by Vincent Budd.

Steve Vai met ‘The Story of Light’ Tour, vrijdag 16 november in 013, Tilburg.

Vrijdagavond 16 november was Tilburg het podium waar gitaarvirtuoos Steve Vai zijn kunsten kon laten zien. In 1988 gaf hij al een acte de precense op het ‘Monsters of Rock’-festival in Tilburg, samen met Zanger David Lee Roth. Gisteravond was hij er echter solo. Met een succesvolle carierre gaf hij in het uitverkochte 013 weer blijk van zijn kunsten.

Vai speelt in Tilburg  materiaal van The Story Of Light en daarvoor brengt hij drummer Jeremy Colson en harpiste Deborah Hensen met zich mee. Verder bestaat de band uit oude bekenden Philip Bynoe op bas en sidekick Dave Weiner op gitaar. Zij leven zich allen lekker uit in het supersnelle Racing The World van de nieuwe plaat, waarmee een lange, dynamische show van start gaat.

Met ogenschijnlijk gemak bespeelt hij zijn instrument. Veel ogen van gitaristen, gitaardocenten en liefhebbers waren gericht op de man die nagenoeg alles kan met zijn gitaar. Op het podium speelt Vai de partituren schijnbaar moeiteloos. Ingewikkelde nummers als Tender Surrender, For The Love Of God en Building The Church vinden gemakkelijk zijn weg via het fretboard.

Bijzonder tijdens dit verder fenomenale hardrockconcert was de aanwezigheid van harpspeelster Deborah Henson-Conant. Met veel plezier ondersteunde ze het repertoire van de meester. Tijdens Whispering A Prayer krijgt haar harpspel een prominente rol. Hensen blijkt een prima toevoeging aan Vai’s band, meer nog dan bijvoorbeeld de twee violisten op de Where The Wild Things Are-dvd (2009), die niet altijd even goed in het geheel pasten. Na een overweldigend Whispering A Prayer volgt – kennelijk tot Vai’s grote verbazing – een opvallend hard en lang aanhoudend applaus.

The Audience Is Listening, een favoriet op de klassieker Passion & Warfare uit 1990, is zo’n track die het wildste in Vai naar boven brengt. Met zijn gitaar in handen rent hij over het podium doet de meest vreemde dingen met zijn gitaar, doe zijn mallotige danspasjes en maffe gezichtsuitdrukkingen.

Halverwege de show komt drummer Jeremy Colson op het podium (bewapend met een draagbaar doodskopdrumstel) en geeft een imponerende drumsolo. Vervolgens komt de extravagante gitarist op als een lichtgevende robot – hij lijkt wel een figuur uit Star Wars! – voor een spectaculaire versie van The Ultra Zone. Met een prachtige uitvoering van Frank, brengt de meester een ode aan zijn oude meester Zappa.

De show van Steve in Tilburg duurde drie uur; zeker na de helft van de show bleek dat te lang. Veel gepraat, grapjes en gedoe en bovendien ook het componeren van een nummer met behulp van een een dame en heer uit de zaal kon wat mij betreft weg blijven.

Steve-Vai-20121116-Photography-Marco-van-Rooijen-013-Tilburg-0872

Joe Satriani still a driving force

Last updated 14:20 22/03/2012
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joe satriani

CAMERON BURNELL/Fairfax NZ

FULL THROTTLE: Joe Satriani plays at G-TARanaki in 2008. “You know how they say in the moviues ‘ don’t work with kids and animals? In rock ‘n’ roll it’s ‘stay away from people who do the same thing as you do’.”

Joe Satriani is thinking about another guitarist, the one who recorded the best known version of Hey Joe and showed the world just how versatile the electric guitar could be.

“I was such a Hendrix fanatic that when he died I was devastated. I decided I would be a guitar player that very day.”

Jimi Hendrix died in 1970 when Satriani was 14 – and while Satriani, who plays Wellington on Saturday, wouldn’t compare himself to his hero, there are similarities. Satriani is considered one of the best rock guitarists on the planet.

There’s Satriani the sought-after session player and collaborator. In the late 80s he toured with Mick Jagger. In 1994 he replaced Richie Blackmore in Deep Purple. He heads rock “supergroup” Chickenfoot, which includes former Van Halen members Sammy Hager and Michael Anthony and Red Hot Chili Peppers’ drummer Chad Smith.

There’s Satriani the soloist. His 1987 release Surfing with the Alien broke into the American top 40 – a rare feat as it was a completely instrumental album – and remains hugely influential. He’s sold 10 million albums and has 14 Grammy Awards nominations.

Then there’s Satriani, the electric guitar evangelist and teacher. His students have even included Kirk Hammett, of Metallica.

Satriani took up teaching early on, something he did “on the side while busy trying to be a rock star”. But it stayed with him. “It was much better than any kind of a day job that may be injurious to my fingers or my hands,” he says.

“Being in a band that’s working on the weekends meant that we had to rehearse during the week. Basically, I was unskilled, other than music. I couldn’t work on Wall Street, I couldn’t work in a hospital. But I loved teaching, even when I was a young kid just starting out. I was teaching kids just starting out behind me. Just by accident I walked into a guitar store one day where the owner was looking for a teacher. I was bugging him because I was playing all these guitars with no plans to buy anything. He figured he’d put me to work. But I became the luckiest teacher in rock ‘n’ roll because after a couple of months who comes walking through the door but Kurt Hammett, Larry LaLonde [Primus], Charlie Hunter, Kevin Cadogan [Third Eye Blind] and David Bryson [Counting Crows]. All these young kids were dedicated to becoming good musicians . . .”

Naturally, like any teacher, Satriani has followed them and been pleased with their achievements. “We did a show with Metallica last July and we were playing in Quebec City in front of a crowd of 120,000 people. It was unbelievable. After the show my wife and I were in the cage behind Lars’ [Ulrich] drum kit and we got to watch the show from back there and I remember I’m looking at Kurt playing the guitar and I’m thinking ‘now, that’s amazing’. I remembered Kurt as a good student and I knew he had the dream and he had the drive . . . I could say ‘we did it right’.”

Another of Satriani’s students was Steve Vai (Public Image, Whitesnake) – and it’s Vai who will also play Wellington on Saturday, along with another top guitarist Steve Lukather (Toto). The three come under the umbrella of G3, a concert concept Satriani started in 1996, where he and two guest guitarists each have a slot with their own bands, before joining Satriani and his band for an all-star jam session.

G3 has had sold out shows in the United States, Europe, Japan, Australia and South America. Satriani’s guests over the years have been a who’s who of guitar legends and across genres, including fellow virtuoso and teacher Robert Fripp.

“We dreamed up the idea in ’95 so I would have people that I could play with on a regular basis. I was complaining to [my management] that my success had isolated me a bit from my own community. Managers would generally keep their guitar players away from each other.

“You know how they say in the movies ‘don’t work with kids and animals?’ In rock ‘n’ roll it’s ‘stay away from people who do the same thing as you do’. But I thought ‘that’s no fun. Let’s do the opposite. Let’s figure out how I can be on stage with two or three or four guitar players and we go at it every night’. I just knew the audience would love it because I knew that I would love it if I was in the audience. When I was a kid I would have loved to see Hendrix and [Jimmy] Page and Jeff Beck and all my favourite guitar players playing together. But they never did it. It took us a year to convince everybody to do it. So we are a well- oiled machine at this point.”

The Details

G3 with Joe Satriani, Steve Vai and Steve Lukather, Michael Fowler Centre, Wellington, March 24. A live Joe Satriani DVD and double CD Satchurated: Live In Montreal is released on April 9.

Author: TOM CARDY

 

G3 – Tourdates 2012


Check the vai.com Tour Dates page for the most up-to-date dates. Ticket links coming soon.

Steve Vai North America Fall Tour 2012

08/15/12 Ft. Lauderdale, FL Revolution United States
08/16/12 St. Petersburg, FL Palladium Theater United States
08/17/12 Lake Buena Vista, FL House of Blues United States
08/18/12 Jacksonville, FL Florida Theatre United States
08/20/12 Charlotte, NC The Fillmore United States
08/21/12 Nashville, TN Marathon Musicworks United States
08/22/12 Asheville, NC Orange Peel United States
08/23/12 Atlanta, GA Centerstage United States
08/24/12 N. Myrtle Beach, SC House of Blues United States
08/25/12 Durham, NC Carolina Theatre United States
08/26/12 Richmond, VA The National United States
08/28/12 Washington D.C. The Howard Theatre United States
08/29/12 Stroudsberg, PA Sherman Theatre United States
08/30/12 Glenside, PA Keswick Theatre United States
08/31/12 Westbury, NY Theatre at Westbury United States
09/02/12 Lancaster, PA Chameleon Club United States
09/04/12 Ridgefield, CT The Ridgefield Playhouse United States
09/05/12 Wilmington, DE The Grand Opera House United States
09/06/12 Greensburg, PA Palace Theatre United States
09/07/12 New Brunswick, NJ State Theater United States
09/08/12 Morristown, NJ Mayo Performing Arts Center United States
09/09/12 Albany, NY The Egg United States
09/11/12 New York, NY Best Buy Theater United States
09/13/12 Boston, MA Wilbur Theatre United States
09/14/12 Northampton, MA Calvin Theatre United States
09/15/12 Concord, NH Capitol Center United States
09/16/12 Lebanon, NH Lebanon Opera House United States
09/17/12 Quebec, QA Capitole Du Quebec Canada
09/18/12 Montreal, QC Metropolis Canada
09/20/12 Toronto, ON Sony Centre Canada
09/21/12 Royal Oak, MI Royal Oak Music Hall United States
09/22/12 Buffalo, NY University of Buffalo Center for the Arts United States
09/24/12 Cleveland, OH House of Blues United States
09/26/12 Minneapolis, MN The Brick United States
09/27/12 Milwaukee, WI Pabst Theater United States
09/28/12 Chicago, IL House of Blues United States
09/29/12 St. Louis, MO The Pageant United States
09/30/12 Salina, KS The Stiefel United States
10/01/12 Denver, CO The Ogden Theatre United States
10/03/12 Boise, ID Knitting Factory United States
10/04/12 Seattle, WA The Moore Theatre United States
10/05/12 Vancouver, BC Commodore Ballroom Canada
10/06/12 Portland, OR Roseland Theater United States
10/07/12 Napa, CA Uptown Theatre United States
10/09/12 San Francisco, CA Regency Ballroom United States
10/10/12 Sacramento, CA Ace of Spades United States
10/11/12 Anaheim, CA City National Grove of Anaheim United States
10/12/12 Los Angeles Club Nokia United States
10/13/12 Agoura Hills, CA Canyon Club United States