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North America 2

Verizon Wireless Theatre, Kansas City, MO, USA
Aug 25, 2004

The last time Deep Purple came to Sandstone Verizon Wireless Amphitheatre in Bonner Springs, Kansas, the clouds menacingly rolled in, threatening to douse the faithful with a burst of rain. Any concerns were unfounded, however, as the weather held and it turned into a perfect evening.

Things were a little different this time. It had rained earlier in the day, and the prognosticators were promising clearing skies despite the menacing dark clouds gathering breaking the day. Stormbringer was dancing on the thunder again. The local news mentioned that the Deep Purple concert would be good to go, and as it turned out, they were half-right. Ponchos were the order of the day. The anchorman passed on the weather lady's offer to sing a Deep Purple song.

The roadies knew better. An irritated stage hand draped the monitors with a heavy coat of clear plastic as the wind picked up a little bit and the sky began to turn black. A spritz ensued. By the time openers Thin Lizzy hit the stage, the drops began to fall, and we donned our rain gear, looking like a bunch of yellow bananas in a sea of blue and green ponchos. Wife Christi was a little embarassed; I thought it was appropriate, under the circumstances. It's the Bananas tour.

Thin Lizzy opened with "Jailbreak," one of only two songs most people found familiar. Any doubts about a Phil Lynott-less Thin Lizzy quickly vanished. The singer was a bit of a sound-alike infused with his own style, and quite an accomplished guitar player as well. We were impressed. As the rain became fairly heavy and rain fell off our hoods, Thin Lizzy continued to pound out their brand of 70's style classic rock. Despite our unfamiliarity with most of the songs, they were quite good and it was an enjoyable set. "Cowboy Song" was one such number, and I'm sure they gained a few fans that night--in addition to the various Thin Lizzy aficionados walking around in their concert t-shirts emblazoned with the Thin Lizzy logo. Despite the rain, the crowd was on its feet for the anthem "The Boys Are Back in Town," everyone singing the chorus in unison. Thin Lizzy was clearly having a very large time, the bass player in particular smiling and prancing about, and the attitude was infectious. It was a very short performance, however, and just as they reached full boost, it was over. The vocalist announced that next up was the amazing Joe Satriani, and then "one of the greatest bands ever--Deep Purple."

The rain continued as the stage crew changed equipment, the precipitation encroaching a couple of feet onto the stage. People armed with mops tried to keep one step ahead and someone put down a cover on the main performance area. We wondered if Ian would be barefoot tonight. PA blared out classic rock, including several numbers from Michael Schenker, much to my delight. When Hendrix's "Hey Joe" came on, it was nearly time for "Joe" to take the stage.

Then, the rain slowed to a drizzle and stopped. The clouds broke, and the sun came out producing a rare double-rainbow arcing from over the stage to the far right. "Maybe Ritchie is coming," I joked. We were now bathed in an ethereal setting of sunshine surrounded by black storm clouds of the type that are known to produce tornadoes in this region. One odd-looking cone-shaped cloud was particularly suspect. Lightning was all around our little island of light.

Joe Satriani took the stage. There was a horde of rabid Satriani fans in attendance--to the point of being annoying as they jumped up and down and screaming "JOE JOE" in our ears at the top of their lungs and constantly getting in the way. We were forced to watch most of the show on the giant screen monitor. Even as I am a Satriani fan who was ecstatic at the prospect of seeing two of my favourite acts in the same night, I was surprised at the enthusiasm the crowd had for Joe in this area of the midwest.

Despite our uncomfortable situation, Joe was amazing. Those who say that Joe is "boring" don't get the point. It was guitar aficionado heaven, as evidenced by the over-enthusiastic crowd. Satriani wowed the crowd with his pyrotechnic playing and likable personality. He is the King of Cool with his bald head and sunglasses, and he clearly--cleary--LOVES what he does. Charges that he plays too long meant nothing to Joe Satriani fans. I just wish I could have seen more. Be considerate of the people behind you, people!

There would be a rather lengthy set change as the stage crew prepared for Deep Purple. By now, it was night, and the amphitheatre was surrounded with billows of cumulonimbus clouds that emitted jagged sparks of light--but there was no thunder now. Purple couldn't have done better if they planned it. Light show to the front and the rear.

It was now the moment we'd been waiting for. There was no drone from a Hammond or a barrage of guitar chords and thundering drums to announce their prescence, nor was there the "rat-tat-tat-tat" of the snare to introduce "Highway Star." Ian Paice simply walked out onto the stage and took his place behind the kit as the crowd burst into thunderous applause. With a grin on his face behind those trademark cat-glasses, he raised his arms in the air in a combination greeting and "Well?" gesture, and the crowd responded in kind.

With no ado at all, Paicey tapped the slatedown and the Deep Purple ploughed into the first song: "Silver Tongue." Looking like some kind of Dalai Lama in what looked like loose-fitting white pyjamas, Ian Gillan grabbed the microphone and charged the stage. "Well, I'm standing here on a moving sta-tion...ALL the world is a-travelin' by...To strange outlandish dest-i-na-tions...There they go, I'm a-wonderin' why..." The band's sound was loud, tight, and powerful--light a freight train, chugging to that song's rhythm. The Bananas numbers were a treat, as we'd expected a "top hits" setlist, and they translated extremely well to the stage. The power this group has is amazing "I may be crazy..." Dant dahhhh... "But I'm not stupid! ...I get along...I use my sil-ver tongue..." Thump-thump-thump-thump... It was magic.

"Woman From Tokyo" was next. The crowd erupted at the riff, and whoever hadn't been standing before was now on their feet, and singing in unison: "My woman from To-kay-yo..." Don's piano solo was markedly different from Jon's...a little more honky-tonk than rock and roll, but these variations are to be expected. Different isn't bad.

Without too much ado, they went into "I Got Your Number." By now, the two idiots in front of us had been asked to leave, and despite everyone being on their feet through the entire set, we had a relatively unobstructed view. "So many signs...so many ways... It's a living thing, no need to rush...the buzz will last for days.... ...I got your number..." This song provided something that in the past one didn't often see: Backup singing. Roger and Steve were trading off vocal lines with Ian: "I got your number (I got your numberrrr) I got your number..." The two guitarists were sharing a mike on the right side of the stage. It was cool as hell and sounded great. It's clear Roger likes to sing, and Steve was having a large time as well. There was a tremendous amount of enthusiasm in these new numbers.

The inclusion of these new songs was great. The band often amends the setlist in the heart of America, often opting for a "top hits" setlist that includes the standard numbers--number we do want to see, but something new--even something "old" that is new--is as welcome as something brand new. We'd not seen these songs live before, and any doubts about the decision were dashed as we heard people all around us singing these new numbers all the way through the song. The amphitheatre was filled with people who came to see Deep Purple, from a ten-year-old girl standing on a seat, to people well into their sixties who probably saw them in 1969. This was in marked contrast to last time, where the crowd was made up of a large contingent of Dio and Scorpions fans. I attribute this to the inclusion of ex-Purplist Joe Satriani and wondered if it were possible to get Glenn Hughes to be included on the bill someday. What a show THAT would be...

"Muchas gracias," the cunning linguist called out at the end of the song, before going into an introduction to the effect that this was about a particular person, and I knew it would be "Strange Kind of Woman," the rocking rhythm infectious to the crowd. They hadn't played this last time.

Next was an introduction stating that this was another one from the new album, and they went into "Bananas"--the third new song, and it's well-named, as they went bananas during the traded-off solos. I would like to see this song extended into a long jam with everyone getting a part.

Ian said something to the effect that this next song was about something that is illegal in a couple of states. Then we heard "Bom-BOMP bom-BOMP..." The "Jaws" theme for "Knocking at Your Back Door." The crowd roared. They obviously knew this one, as several people around us belted it out as well, accompanied by an orchestra of air guitars.

After the mayhem of "Back Door" with its extended, pounding ending, the lights went down, the spotlight went on Ian, as he sat down cross-legged at the front of the stage, looking even more like some kind of Buddhist monk. He was wanting to talk for a moment. This is different, I thought. What's going on? He spoke of working on the new album in LA when the news came over the TV that the shuttle had broken up. It was an emotional moment, and Steve had written this song about it.

It was "Contact Lost." The crowd was still a little bent out of shape from the last song but things eventually quieted down as Steve played the lyrical piece with a single spotlight on him. He then broke into his solo as the other members left the stage. At some point Ian Paice returned to his seat, followed by the others taking their places, and the lights came on to what I assume is the "Well-Dressed Guitar" with its Baroque-sounding counterpoint. I had hoped this would have been a bonus track on the album.

"And in the blue corner," Ian Gillan announced, "Don Airey." The sky behind us continued to flash with lightning as Don played a Bachlike organ. It was perfect, as if that had been planned. He soon broke into classical piano, and I think at that point he lost the crowd. He showed his prowess on the keyboard with a smattering of various classical pieces, but it appeared many didn't really appreciate what was happening until he broke into some old-fashioned rock'n'roll playing. "Look," my wife said to me. "The Leslie is spinning." A fine young Jedi she is.

One criticism of the show would be the interlude of the two soloists coming right after the belting rockers. It lost a lot of momentum that had to be regained. Avid Purple fans come to see this stuff, but the casual fan loses interest. "Bananas" would be a good vehicle for extended solos from all the members of the band, and would be in keeping with the "going bananas" theme; however, it's clear that there is some fatigue that is alleviated by the breaks provided by these solos. It's one thing to be critical, and totally another to be up on that stage.

Whatever momentum was lost was quickly regained as the riff to "Perfect Strangers" growled. The crowd erupted with their loudest noise yet, and a passenger jet flew silently and softly over the amphitheatre, its lights flashing, adding to the ambience. This song is always a highlight of the show with some of the finest lighting effects. It must hold meaning for the members who were there at its inception, as there is a vigour and aura that one doesn't find in some of the other songs.

The crowd reinvigourated, the band turned its attention to "Highway Star," sounding a little strange being in the middle of the show instead of the beginning or the end. Steve Morse, Don Airey...enough said.

Without missing a beat, Ian pointed to the sky and said, "Look up there...It's 'Space Truckin'!". Duh-nuhnt...DUNT Dunt dunt... The crowd thundered with its biggest noise yet, singing along, raising their fists in the air in time to "COME ON! COME ON! LET'S GO SPACE TRUCKIN'!!" The band must have pumped up the volume, because by now, it was overpowering the amplification. No matter. The playing was there.

There was no pause as they broke into "Smoke on the Water," always getting the biggest reaction from the crowd, and practically everyone knew the words to the National Anthem of Rock. During the quiet part, the crowd was clearly and loudly singing "SMOOOOKE on the wa-ter...fire in the sky..." Any criticisms that Purple is bored with this song were completely unfounded as they were clearly having some of the best time of the show. In fact, there wasn't a single number that they did not enjoy playing.

As the last final cadence crashed away, the audience, on its feet the whole time, remained cheering and whistling as the drum tech began to make like he was tearing the instrument down. It was a tease. The crowd began rapping on the plastic chairs and the sound filled the amphitheatre for several minutes before Ian Paice came back on, followed by Ian Gillan, who came to the front of the stage. Don Airey began playing soft wedding music, and Ian went on to say, "Dearly beloved...we are gathered here tonight...to ROCK AND ROLL."

It was "Speed King." The audience was roaring once more. After Steve and Don traded lines and the body of the song was over, it was Roger's turn. He started in a slow, steady rhythm with a few blues riffs...nothing too fancy--until he hit an effect switch and the turbo boost came on. With the extra power and sustain, he played like a demon for a long time. While the bass had sounded a bit muddy for much of the show due to the limitations of the sound system, the effect he was using brought out a much brighter and clearer sound. There were a couple of lines in the solo that sounded like snatches of his solo from Jon's Gemini Suite.

Ian Gillan came out and began his medley, starting with a little "Sweet dreams, ba-by..." followed by "High School Hop," "Now or Never" and even "Old McDonald had an egg..." Breaking back into "Speed King," Steve had a feather hanging from the headstock of his guitar, and he was wearing a t-shirt that had a giant hand on it.

"That one came from 1969," Ian said at its conclusion. "This one," he continued, "Goes back to... NINETEEN SIXTY-EIGHT!" It was "Hush." It wasn't as good a version as two years ago, when it was the overwhelming highlight of the show and one of the best versions I'd ever heard, but "Hush" always translates very well to the stage, and the crowd gives it as much attention--if not more--as "Smoke on the Water," the entire place singing, "Na na-na na, na-na na, na-na naaaah..."

It seemed like a much longer show than two years ago. Although the venue was only two-thirds full, the crowd was much more enthusiastic. "Ted the Mechanic" was noticeably absent, as were numbers from "Abandon," but what I would really like to see is a Steve Morse/Don Airey version of "Burn". Would Roger do it? Ian Paice is the only member who was present during the recording of "Hush," and they do that. Even an abbreviated version with just the solos thrown into "Speed King" would be nice...

When it was all over, Ian mentioned his thanks to Thin Lizzy and the amazing Joe Satriani and invited everyone to pile on the bus... If only.

Once personal anecdote is worth mentioning. Whenever my wife and I see a limo anywhere, we always joke, "Look...there goes Deep Purple." On the way home, soon after leaving Verizon Wireless, we were passed by a limo. We strongly suspected that coming from that area of Kanas in the middle of the night, then taking I-35 north towards the airport, it was likely Deep Purple on their way to Texas...

I don't know if DP reads these reviews. On the off-chance they do... THANK-YOU FOR COMING TO KANSAS CITY!!! At one point, we weren't on the list and suddenly the stop was added. There were a lot of empty seats; it would be understandable to skip over us, so we thank-you for including us on the American tour. :)

Troy D. Wickman