Piano men don't disappoint: John, Joel live up to
billing
by Sarah Rodman
Wednesday, January 23, 2002
Last night, Elton John and Billy Joel kicked off five sold out shows at the Fleet Center with a magnificent three-hour and 45-minute performance that began and ended with perhaps their best-known songs, "Your Song" and "Piano Man."
While they couldn't be more different songs and people - Joel the swaggering New Yorker with the cynical piano bar number, John the flamboyantly fabulous Brit with the sweet sentiment - the pair were justly feted by a sold-out crowd whose hopes were rewarded with a terrific performance from the twin giants of piano pop.
The Rock and Roll Hall of Famers began the night by saluting one another under side-by-side video images of the Union Jack and the Stars and Stripes and playing a short set trading verses on "Your Song," "Just the Way You Are" and "Don't Let the Sun Go Down on Me."
John and his stalwart band hit the stage first covering many years of his career with a somewhat odd setlist. Highlights included an incredibly galvanizing, almost religious run through the fervent "Levon," the lilting new single "I Want Love," a dramatic "Take Me to the Pilot" and a surprisingly swinging "I Guess That's Why They Call it the Blues." While John's playing was impeccable and his voice smooth, if missing its high end, one longed for more substantial songs then zippy hits like "I'm Still Standing" and "Crocodile Rock." The crowd loved them, however, singing along with the cartoony la-las and applauding heartily.
If Elton got more bona fide standing ovations, Joel managed to keep people on their feet for most of his set playing some of the best uptempo numbers in his catalog including exuberant opener "Scenes From An Italian Restaurant," "Movin' Out," the frenetic "Prelude/Angry Young Man" and the driving "I Go To Extremes."
Or should I say, zooming, since somebody definitely gave Liberty Devito his pep pills last night. Joel's long-time, famously hard-hitting drummer pushed the tempos on several songs almost to the point of disaster. At times it added an exciting edge and at others it seemed like Joel had to struggle to keep up especially on the rapid-sung "Scenes."
But to his credit Joel was in great voice, hitting many of those old high notes with gusto and surprising sustain on songs like the pleasingly chugging "Allentown" and the now poignant "Miami 2017 (I've Seen the Lights Go Out on Broadway)."
While separately each man and his band had moments that were truly sublime - John's riveting, soul-drenched outro of "Rocket Man," Joel's simply gorgeous growing pains ballad "Vienna" - together they were unstoppable, pushing each other with playful competitiveness.
When the fiftysomethings regrouped the energy was crackling as they vamped their way through "The Bitch is Back" - which found Joel strutting atop his piano - boogied loosely through a stomping "You May Be Right" - which found Elton giving Joel a mid-song massage - "Bennie and the Jets" and Jerry Lee Lewis' rollicking "Great Balls of Fire."
A poignant note was sounded when John dedicated the late, great George Harrison's "Here Comes the Sun" to the recently deceased Peggy Lee. The song's shimmering harmonies and tight rhythms - with the respective bands admirably combining their efforts - were a lovely tribute to both the Beatle and the torch singer.
A few quibbles: John's divine "Don't Let the Sun Go Down on Me," with its dramatic crescendos seems like a much more logical encore choice - both musically and for Joel's voice - than the more somber and played out "Candle in the Wind." Joel could spend less time doing his stand up shtick. While he's often very funny, with the limited time frame, more playing would've been preferable.
But these two obviously have a great time playing together and that translates to the audience in an incredibly fun and exhilarating way.
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