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annual "Looking
Back" benefit concert at the Roxy Theater. My hair was bound to end
up in some cockamamie coif after this explosive
extravaganza.
The concert, a special benefit for the Make-a-Wish Foundation, The
Leukemia & Lymphoma Society, and Children's Healthcare of Atlanta,
was a gleeful sequel to last year's show, helping out those in need
while treating each and every attendee to some exciting holiday
cheer. The jolly jukebox That 80s Band and special guests Bedhead
proved that charity does begin at home-when you're right at home on
stage, that is.
Bedhead, the quartet renowned as "Atlanta's Favorite Cover Band,"
warmed up the chilly, damp Roxy audience with all the excitement of
children raiding the tree on Christmas morning. The group
passionately strided through a set of high-energy sing-a-long
rockers. Their show was dizzyingly nostalgic, incorporating hits as
classic as Elvis Costello's "(What's So Funny 'Bout) Peace, Love,
and Understanding" and as recent as the Gin Blossom's "Hey
Jealously."
Bedhead's set contained even more variety than the hundreds of free
donuts generously donated by Krispy Kreme for the event. The boys
performed their hilariously up-tempo "slow song", a punked-up "Boys
of Summer", as well as an "obligatory hair metal" number. From
obligatory to ironic-now that's range.
Bedhead also pulled out an extra special holiday surprise. They were
joined onstage by Kerri's Kittens, four luscious ladies in
off-the-shoulder t-shirts and tantalizing miniskirts, courtesy of
Armada Magazine. Me-ow. The Kittens provided backup . . . well, I
honestly don't know what was "backup" about it. They had everyone's
undivided attention. Pity the Bedhead boys had to spend the time
playing.
The group closed their set strong, with the most dead-on Bon Scott
impression I've ever heard on "Dirty Deeds Done Dirty Cheap." It was
as if Bon's spirit had taken over bassist/vocalist Kevin's throat.
And you'd better believe Bon Scott knew a thing or two about spirits
and throats.
Bedhead effortlessly roused the several hundred Roxy attendees,
pumping everyone full of energy. Though first timers in a Roxy-sized
venue, they made it clear that a nice roomy stage is exactly where
they belong.
A brief half-hour later, the stage was a lot less roomy. An
explosion of light and sound bombastically pronounced the arrival of
That 80s Band. The group returned after a commanding performance at
last year's benefit that would be difficult to top. But it seemed as
if the band had been playing 10 years nonstop in packed stadiums to
prepare for this show. This night, they were not just That 80s Band.
They were The 80s Band, belting out superlative renditions of
everyone's classic favorites.
The exuberant, ideally-sized Roxy audience-suitably packed, but with
plenty of room for dancing-welcomed the group back with thunderous
response to every song. The band proceeded expertly, breaking out
the kind of songs you know in one measure: "Livin' on a Prayer," 'My
Sharona," and Van Halen's "Jump," which featured expert solo work
from keyboardist Salas and lead guitarist Hank.
Hank, the band's only new addition since last year, was a six-string
revelation. From every possible position-behind the head, back,
between the legs-he unleashed blistering solos and the most
to-die-for guitar parts-"Sweet Child of Mine," anyone? Hank
delivered a crisp tone and brilliant musicianship, all while
seemingly in the restful peace of a long winter's nap. He fits That
80s Band like a nice set of leg warmers.
Hank was the first of several new friends That 80s Band invited to
(become) the show. Bedhead and good friend Kenny Haus were invited
up to fill every square inch of stage space, as well as assist on
Modern English's "Melt with You." Haus, a veteran of Atlanta's local
scene and current California resident, also came back out to
contribute that quirky and unforgettable rhythm guitar line for
"867-5309 (Jenny)". The man makes a Rickenbacker sound good.
But That 80s Band had more than just a stable of talented friends to
show off. Vocalists Laura and Craig each unveiled some special
skills they've been cultivating since last year. Laura has become
quite astute at comedy . . . and marketing.
"Ladies, this next song . . . what it's about . . . we don't talk
about it, but we certainly do it."
They then proceeded into "She-Bop." Reflecting on Laura's comments,
I zoned out for about five minutes and didn't catch the song. I'm
sure it was great, through.
As for Craig, the charismatic and authoritative frontman with the
voice as pure as an angel and range up to an angel's apartment
complex, he's been developing a knack for more aggressive material.
He growled his way through the fist-pumper "You Shook Me All Night
Long" and fought his way through the effects of the flu to fulfill
his religious duties to Steve Perry with the finale, "Separate
Ways." It might not have been perfect, but hey, you just try
"Separate Ways". . . healthy.
Being the clever bunch that they are, That 80s Band came back out
with the ode to every band's attitude toward encores, "I Want You To
Want Me." Craig then further asserted his compounded virility with
Billy Idol's "Rebel Yell." To finish off the evening, Laura led the
band through their first-ever live performance of Pat Benatar's
"Heartbreaker." Don't we all wish rehearsal time was that
productive?
That 80s Band made apparent the genius of an understated band name.
It makes everyone else search for suitable adjectives to praise you.
From the unwavering unity of Lane (bass), Jim (guitar), and Carter's
(drums) rhythm section to the euphoric vocal harmonies of Craig,
Laura, and Lane, their performance was nearly airtight in every
respect. But of course, aside from that whole death thing, no air
would have meant no sound. And what a shame that would've been!
As sure as Santa's "naughty" and "nice" lists, the 2nd Annual
"Looking Back" benefit concert, That 80s Band, and Bedhead left an
indelible mark on the holiday season. No wet comb is going to make
this go away. |
