Review by Jim Shelley
Peter Frampton’s concert at the renowned The Show, the venue at the Agua Caliente Resort Spa in Rancho Mirage, California, started off on the wrong foot for one unlucky fan when during the opening song, “You Had to Be There”, his cell phone was confiscated by Frampton’s tour manager. But not before Frampton himself took a grab at the device. Reminiscent of the scene that unfolded only weeks earlier where another unlucky fan had his cell phone confiscated by the musician himself. Tonight’s fan sauntered, under the watchful eye of the audience and on that green mile of shame, to his 200 loge seat. The show went on.
Having been a devout Frampton fan since the age of 15 (he headlined my first ever concert at the Kingdome in 1977), I found tonight especially meaningful. Frampton performances in the LA area the last few years already were assigned for review, so I missed some opportunities. Tonight’s opportunity to review my childhood idol was a gift and a privilege.
While my children have families and children of their own, now, I made certain during their childhood that they saw the legend. And many times they did. The highlight was, during a closed performance at Sunset Tower Records (now, sadly, shuttered) my daughter sat at his feet. They spoke. He gifted. If that didn’t qualify for a full-circle moment, nothing would.
Frampton’s signature sound launched just as the house lights dimmed. The band came out solid and tight, with the near capacity crowd at their feet and welcoming them to thunderous applause. “You Had to Be There,” from 2000’s Live In Detroit, was a good opener. The song was fitting for anyone who hasn’t attended a Frampton show. With a vast catalog of albums, tonight’s setlist choices surely had to be a challenge for the man.
“Doobie Wah,” the opening track from 1974’s Somethin’s Happening, sounded just as fresh as it did 40 years ago. While the tune was performed a little slower than I remember, it didn’t disappoint. Rob Arthur did a fantastic job on keyboards. Certainly many in attendance missed the presence of Bob Mayo who, sadly, passed away 10 years ago. With your eyes closed you were transported to the 76-77 run of Frampton Comes Alive shows. His uncanny ability to recreate the songs as we remember them is impressive, and the crowd soon would realize just what a time machine would be like tonight.
“Lines On My Face.” from 1973’s Frampton’s Camel, set the crowd into a relatively somber mood. This song is one of his mellower, slower hits, and given he was about 23 at the time he wrote it, really is quite insightful for such a young man. The pain and heartache he describes seems more fitting for an older gentleman. It would be interesting to learn of the inspiration for this song. Anyhow, it was a crowd pleaser. It sounded so close to the FCA version that many in the audience were reliving their carefree teen years.
Taking a break from the first three songs, Frampton thanked the crowd for attending, but not before chastising the gentleman who earlier had his cell phone taken. Demonstrating his vernacular, in language otherwise not fit for print, the guitarist explained his love for technology, but disdain for cell phones.
Next up was the recognizable “Show Me The Way,” which gained popularity from Frampton Comes Alive. Tonight’s version sounded slightly slower than the FCA version. The audience cheered in approval when he navigated his talkbox, effortlessly I must add. For those in the upper sections, Frampton’s nimbleness on the guitar, his fingers seamlessly hitting every note, no nuance missed. They caught it all thanks to the two video screens to each side of the stage.
“I’ll Give You Money,” from 1975’s Frampton (which also includes “Show Me The Way” and “Baby I Love Your Way”), was a hybrid of sorts. The song was performed true to form, but Frampton delighted the true guitar aficionados by transitioning into some awesome improvisation. Perhaps his historic association with blues legend B.B. King has inspired him to step out of the box on occasion. Ten minutes after he started, a near exhausted audience demonstrated their approval with a standing ovation.
“Black Hole Sun” is associated with Soundgarden because it’s their biggest hit. This two-decades-old hit rolled out as an instrumental was one of the evening’s most impressive moments. Informing the crowd that the song would be absent lyrics, the lights dimmed and in almost psychedelic fashion, Frampton took the crowd on a sonic journey. His ability to marry himself to his guitar is something to witness. And tonight’s performance saw him changing guitars after every song. After the searing lead guitar riffs that punctuate the chorus, Frampton returned to the talkbox and did sing the final verse. The sound was clear and crisp.
During the guitar switch for the next song, Frampton was handed an acoustic. Speaking to the audience he intimated that the guitar had been near destroyed, in a flood, when it remained submerged for three days in the Nashville flood. (Interesting note: Frampton lost 44 guitars in the flood.) He described how he had it repaired, strummed a few chords, and then slid into 1975’s “Baby I Love Your Way”. “Moon appears to light the sky… with the help… of some fireflies…”. I mean… is that great or what??!! What can you really say about this song? It’s the “everyman’s” song. You can’t NOT like it. I think I’ve gone soft…
The true crowd pleaser was when Frampton executed a 20+ minute version of 1973’s “Do You Feel Like We Do,” a fitting show closer. The gem of the song was the addition of the extra six minutes or so of improv, compared to the FCA version clocking in only14 minutes. Midway through, Frampton introduced his band — Rob Arthur, the aforementioned keyboardist who also doubled as guitarist and vocalist; Adam Lester on guitar; and Dan Wojciechowski on drums. Most notable among the band introductions was bassist Stanley Sheldon, who has played with the guitarist off and on since the beginning. He also was on Frampton Comes Alive, alongside keyboardist Bob Mayo and drummer John Siomos, both of whom have since passed away. A tribute was paid to the deceased musicians with a backdrop of their images before the song ended. The audience loved it!
Taking a seat at the piano, Frampton effortlessly sang the lovely ballad “I’m in You,” taken from the 1977 album of the same name. It’s not often he plays the piano, and again he demonstrated his musical prowess. What can’t this guy do? The band didn’t miss a beat as Frampton slid from the piano into the waiting arms, er, neck of the guitar passed to him to deliver the song’s solo. It sounded like the studio version, and that’s a compliment. Under pressure to top Frampton Comes Alive, arguably at the time the world’s biggest selling record, “I’m in You” was a smashing success that cemented Frampton to legendary status.
Again, the crowd roared its approval as Frampton and his team bowed and thanked the audience for their attendance. I’ve been to hundreds of venues over my 37 years of attending concerts, and The Show is by far the nicest, classiest, cleanest, and best sounding venue ever I’ve been in. There is not a bad seat in the house. The sound is unbelievable. The staff is professional and courteous, at the ready to respond to your inquiries or escort you to your seat. When you get a chance, check out their concert schedule. You’ll definitely be planning a visit.
