joe jackson tour 2022 kritik

Konzertkritik | Joe Jackson - Eine erstaunliche Hommage an den Sänger, den es nie gab

Der britische Musiker Joe Jackson wird nie müde, Neues auszuprobieren. Im Berliner Admiralspalast hat er sein aktuelles Konzeptalbum vorgestellt. Jakob Bauer hat einen Abend zwischen großer Virtuosität und Albernheit erlebt.

Was für ein vollmundiger Titel: Mr. Joe Jackson Presents Max Champion in What A Racket! Das ist der Name des aktuellen Albums von Joe Jackson, das er an diesem Abend im Berliner Admiralspalast präsentiert. Und was es mit diesem Max Champion auf sich hat, erfährt man in der furiosen zweiten Hälfte dieses von der Dramaturgie her so gegensätzlichen Abends. Denn es beginnt ganz minimalistisch. Joe Jackson sitzt allein am Klavier, spielt und singt.

Das 21. Jahrhundert mag er nicht

Jacksons Songs waren schon immer harmonisch attraktiv und vielschichtig arrangiert. Rock 'n' Roll steht in seinem Portfolio neben Swing, Filmmusik und klassischen Kompositionen. Wenn er diese Songs jetzt auf's Klavier runterbricht, besteht da durchaus die Gefahr, dass viel verloren gehen könnte. Aber nein: Jackson überträgt so viel es geht von der Komplexität auf sein Klavierspiel, das nicht nur Begleitung ist, sondern einen eigenen, wirbelnden Charakter entwickelt.

Er hat eine tolle, klare Stimme, mal erzählerisch elegisch, mal beherzt entschlossen. Und: Er hat einen trockenen Humor. Jackson beginnt mit neueren Songs, sagt dann: Ich mag das 21. Jahrhundert nicht, daher gehen wir in die 90er. Dann in die 80er. Dann in die 70er. Die 60er. In diesem Jahrzehnt hat er aber keine eigenen Songs geschrieben, also covert er die Kinks. Und dann kommen wir endlich bei Max Champion an.

Kultur - Watergate-Club schließt zum Jahresende

Das Watergate an der Oberbaumbrücke ist eine feste Instanz in der Berliner Clubszene. Doch zum Ende des Jahres ist Schluss, haben die Betreiber jetzt bestätigt. Es seien schwierige Zeiten für Berliner Clubs. Von Lisa Splanemann

Wir sind im Jahr 1910 und jetzt fragt nicht, warum!

Grammofonmusik erklingt, Arbeiter mit grauen Mänteln schieben ein Schlagzeug auf die Bühne, ein Typ mit Fes auf dem Kopf und Pfeife im Mund stapft herein. Zu ihm gesellen sich mehr Männer mit gezwirbelten Bärten und Fedoras und Frauen in wallenden Kleidern. Alle fordern sie einen ersten Auftrittsapplaus und alle haben sie Instrumente dabei. Geige, Bratsche, Flöte, Klarinette, Tuba, Posaune, Piano und Schlagzeug.

Eine richtige kleine Big Band steht jetzt auf der Bühne und natürlich auch Joe Jackson, der plötzlich Frack und Zylinder trägt. Und nur noch halb Joe Jackson ist – und halb Max Champion. "Der Ort ist London", sagt er. "Das Jahr ist 1910, willkommen in der Welt von Max Champion und jetzt fragt nicht warum". Dann legt die Band los.

Feiern als gäb's kein Morgen

Aber ein bisschen Erklärung gibt's doch: Max Champion sei ein fast vergessener Sänger aus den britischen Music Halls Anfang des 20. Jahrhunderts, erklärt Joe Jackson. In den Music Halls lief eine Mischung aus Komödie und Unterhaltungsmusik, mit ersten Anklängen von Ragtime, Swing und Jazz. Das war inhaltlich gallig-satirisch, mal gegen die da oben, mal das aktuelle Stadtgespräch in Musik, mal Politik mal Liebelei, alles was gute Laune machte und knallte. Und dazu Feiern, als gäb's kein morgen. Nur: Max Champions gibt es eigentlich nicht, den kurzlebigen Unterhaltungskünstler, seine Geschichte, seine Musik, das hat sich alles Joe Jackson ausgedacht.

Konzertkritik | Duke Ellington in der Philharmonie - Jazz-Party mit Anlaufschwierigkeiten

125 Jahre alt wäre Duke Ellington dieses Jahr geworden. Die Big Band der Deutschen Oper Berlin widmete der Jazz-Legende deswegen einen Abend in der Berliner Philharmonie. Die Feier ist mal brav geplätschert, mal furios gelungen, meint Jakob Bauer .

Virtuos und richtig schön dumm

Aber mit wie viel Liebe zum Detail, zum Musik-Genre und zur Show dieser Abend die Ära der Music Halls feiert: Die Band ist gleichzeitig virtuos und albern, hinreißend kraftvoll, aber auch richtig schön komisch dumm. Alle beherrschen sie feixende Grimassen und ausladende Gesten, sind Musiker und Clowns. Mal liegt ein Wasserball in der Tuba, dann zieht der Posaunist den Zug aus der Posaune raus und kuckt mit großen Augen in die Menge – huch, was nun? Es gibt einen Instrument-Gewicht-Heben-Wettbewerb und Stepptänze. Das alles passiert trotz des Slapstick-Charakters nicht plakativ, sondern immer schön nebenbei.

Jackson selbst steht seiner Band in nichts nach, er ist der große Zampano mit der lotsenden Stimme, schiebt den Kiefer hin- und her, spielt mit dem Klang der Vokale, lässt das Tremolo sausen und hat bei allem eine wunderbare Sprachverständlichkeit. Auch wenn selbst diejenigen, die gutes Englisch sprechen, wahrscheinlich nicht alles verstehen, denn die Texte sind gespickt mit Slang und Metaphern, obszönen Andeutungen, die Jackson zwar freudig ankündigt, aber nicht übersetzt. Man schaut hierhin, dorthin und wird mitgerissen von dieser kraftvollen Erweckung einer selten gehörten Musik und Show-Form. Rohe Energie, pure Spielfreude, musikalische Virtuosität und Humor - es ist ein kleiner musikalischer Schatz, den Jackson hier gehoben hat und zum Funkeln bringt.

Sendung: rbb24 Inforadio, 18.09.2024, 7:55 Uhr

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5 Kommentare

Sehr gut kommentiert. Sehe ich ebenso.

Ich habe Joe Jackson am Montag in Bremen gesehen. Was sollich sagen, der Kommentar beschreibt das was ich erlebt habe. 2 Stunden allerbester Unterhaltung, grandios!

Schade, dass ich das Konzert verpasst habe. Aber die sehr positive Kritik lässt erahnen, dass das Konzert richtig gut war, und das Publikum seine Freude hatte :)

Ach schade, ich habe nicht gewusst, dass Joe JAckson hier mal nach Langem wieder ein Konzert gibt. Die sehr positive Kritik lässt ahnen, was das Publikum für einen Spaß gehabt haben muss :-))

Joe Jackson, was für ein Musiker! Ich liebe seine Musik und habe viele Alben in meinem Schrank zu stehen, mehr als zehn Stück. Und jedes ist anders. Da ärgert es mich jetzt wirklich, dass ich dieses Konzert verpasst habe. Es war bestimmt toll. Ich habe selten einen Musiker erlebt, bei dem jedes neue Album eine positive Überraschung und fast jedes eine Entwicklung mit neuer Musikrichtung gezeigt hat. Was soll ich schreiben, er ist einfach ein genialer und begnadeter Musiker. Ach Mensch, wie schade, dass ich das nicht mitbekommen habe. Aber danke für diese Konzertkritik.

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Concert Review: Joe Jackson at the Shubert Theatre — A Restlessly Creative Artist at the Peak of His Powers

By Jason M. Rubin

Trampling on the expectations of his fans, of course, is a big part of what makes Joe Jackson the singular talent he is — and most of his admirers wouldn’t have it any other way.

Joe Jackson today.

Here’s a list of things that Joe Jackson is not anymore. First, he’s no longer a frontman. Time was he’d prowl the front of the stage, shout-spitting lyrics into the microphone and sneering at the audience. In the past he would occasionally play piano, but he often had a keyboardist on tour with him. Now, he remains seated behind his keyboard, one of the band, conducting and vocalizing without much physical movement. Second, inferred from the first, he is no longer the angry young man he was marketed as in the late ’70s and early ’80s. I’ve seen him swear at audiences in the past; today he is a kitten, expressing genuine affection and appreciation for his fans. Third, he is no longer a hugely popular hitmaker whose latest works flood the radio airwaves. My 25-year-old daughter says she’s never heard of him or his works, even after I serenaded her with a medley of his early hits. You can occasionally hear his older songs on classic rock radio, but rarely anything after his biggest hit, 1982’s “Steppin’ Out.”

None of this, of course, matters at all to his loyal fans, who not only filled the Shubert Theatre last Thursday night and gave him ovation after ovation, but also sang along with many of the tunes. These are the people who never left Jackson, who have followed his eclectic career as he took detours into reggae, jump blues, classical music, Latin music, theater, and in and out of his unique spin on rock, which started with new wave and later became a highly literate form of power pop, and as recently as 2019’s Fool (the last time he toured here) explored left-of-center prog-pop territory as one would find in bands such as Utopia and XTC.

To cover all (or many) of these bases in a single show would seem to require a large band, but the quartet of Jackson, his brilliant long-term bassist Graham Maby, guitarist Teddy Kumpel, and sensational drummer Doug Yowell had the energy and chops to deliver the goods. At one point in the show, Jackson called them “the greatest touring band in the world;” after the show, it was difficult to refute the claim.

The tour is called the “Sing, You Sinners Tour,” after a song by the popular dance band of the ’20s and ’30, The High Hatters. The original was played on tape as the lights went down before the band took the stage; the musicians then performed it live late in the set. Said set leaned heavily on both his first and latest albums, 1979’s Look Sharp and Fool , with four songs from each performed. I’m the Man (1979), Night and Day (1982), Blaze of Glory (1989), and 2008’s Rain were featured with two songs apiece. One song each from 1984’s Body and Soul and 2015’s Fast Forward were also played, but key albums in his discography like Beat Crazy , Big World , and his four interesting but uncommercial albums from the ’90s were ignored. During a mid-set solo section, Jackson also played a cover of XTC’s “The Mayor of Simpleton.”

Of the early and mid-career songs, a number were rearranged by Jackson to include jazz touches and other musical ideas. Fans expecting to dance to the electronic disco of “Steppin’ Out” were treated instead to a slow ballad version. Trampling on the expectations of his fans, of course, is a big part of what makes Jackson the singular talent he is — and most of his admirers wouldn’t have it any other way.

One thing that comes across clearly in concert is what an excellent musician he is. Jackson has a sensitive, lyrical touch on piano, and his music has lots of melodic and rhythmic twists and turns. One forgets that he studied composition at the Royal Academy of Music in London. Still, he and his band made even the trickiest parts look easy and sound exciting. Jackson turns 68 in August, but even though he doesn’t act the frontman anymore, he knows that a raver song like “I’m the Man” needs the full-tempo treatment, and the band knocked it out of the park. Wisely, the song was saved for the end of the set, so they could catch their breath for the two-song encore, “You Can’t Get What You Want (Till You Know What You Want)” and “Steppin’ Out.”

Ultimately, what Joe Jackson isn’t anymore is irrelevant. He remains a restlessly creative artist at the peak of his powers, with a voice that is still strong (including an emotional falsetto), and a real desire to connect with his audiences. The Shubert show was the third stop on a tour that runs until August, crossing the US and hitting a number of European countries. It was originally postponed because of you know what, but this show was well worth waiting for. I am already waiting for his next concert in Boston.

Jason M. Rubin has been a professional writer for more than 35 years, the last 20 as senior creative associate at Libretto Inc., a Boston-based strategic communications agency where he has won awards for his copywriting. He has written for Arts Fuse since 2012. Jason’s first novel, The Grave & The Gay , based on a 17th-century English folk ballad, was published in September 2012. His current book, Ancient Tales Newly Told , released in March 2019, includes an updated version of his first novel along with a new work of historical fiction, King of Kings , about King Solomon and the Queen of Sheba. Jason is a member of the New England Indie Authors Collective and holds a BA in Journalism from the University of Massachusetts Amherst.

Joe has remained a mainstay in my library of musical collection . His musicianship and particularly his voice fit like a glove . I don’t understand why he is never on the tip of peoples tongues when it comes to so much great ingenuity . He’ll forever be my favorite artist as an individual artistic writer . God bless you Joe and keep on keeping it on .

So envious of those who have seen and will see & hear Joe on this tour. He’s a favorite musician since the beginning. Thank you for the well reported/written account!

I hope that the concert will be filmed at some point during the tour and shared online with fans who couldn’t attend!

I was lucky enough to have seen Joe 2 nights ago here in Los Angeles. Fantastic show. But then us Loyal Fans always feel this way. Joe Jackson has never fallen of my radar. Joe is an unstoppable musical force of nature, Everyone should look into his body of work.

My GF has to come late to the show and is very upset, Was there a warm up band when you saw him?

Great review! I’ve never lost touch with the music of Joe Jackson and thanks to technology, I can request any song in the world now! When I pull up a Joe Jackson song while hanging our with mt adult kids, they always ask who is this and now I often hear Alexa playing him around the house! Looking forward to seeing him in Ft. Lauderdale!

A good update on what Joe was doing last year. In general Joe Jackson just got better and better as his career progressed. I’ve come to feel that his high points were Night & Day II and Rain. Night & Day II was simply magical and astounding in its reach. What an incredible set of stories and people that could only exist in Manhattan. Rain is Joe at his most confident with power and solid performance. Of course, that just me talking, everyone has their favorites.

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Joe jackson looked sharp and played well at mgm  .

May 15, 2022

It's been a six years since Joe Jackson has played in the Cleveland Area.  He more than made up for lost time by playing an outstanding show at  MGM's Center Stage on Saturday night.

Jackson just recently started his Sing, You Sinners! Tour  and the MGM was just the third stop on the tour.  However, audience members would have never known that because the band was tight and Joe's playing and singing were spot on.  It seemed like they've been on the road for months.

Opening the show with "One More Time" from his 1978 debut album Look Sharp! , Jackson and his band were off and running.  The group then went on to play six songs from his first two albums with one song segueing into the next.  "Sunday Papers," "Dave," "Look Sharp!" and "Fools" were all played in succession without a break.

The band left the stage and Jackson was left alone at his keyboards when he finally spoke to the audience.  He said he was going to play the next few songs solo and chatted and told of the origins of each song.  "Solo (So Low)," "Real Men" and "A Place In The Rain" sounded fantastic.  One could really hear the lyrics and understand the meaning behind them with Jackson's expressive vocals.

Jackson said that he gets to play one cover song from a band or artist that influenced him.  He said that the next song just came to him earlier in the day, so he decided to play Steely Dan's "Any Major Dude Will Tell You" and it was outstanding.

The band returned to finish the set which included "Down To London," "Blaze Of Glory" and "It's Different For Girls."

In the middle of the set he played his first hit song, "Is She Really Going Out With Him?"  However, they did it acapella with just a baseline.  It was a nice version but I believe the fans wanted to hear the way the song was originally recorded and sing along.

Joe ended the set with a ripping version of "I'm The Man."

The encore consisted of "You Can't Get What You Want (Till You Know What You Want)" and a slowed down version of his biggest hit, "Steppin' Out."

Instead of leaving fans with an upbeat song that would have put smiles on their faces, Jackson decided to rearrange his two biggest hits, leaving fans a bit disappointed.

Don't get me wrong, the show overall was excellent.  Jackson and his band sounded great.  Since it has been six years since Jackson has played in Cleveland, I'm sure for many fans, like myself, it was the first time seeing Joe Jackson perform live.  We just wanted to hear those songs performed as they were originally arranged.

Photos and review by Greg Drugan

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The tour will kick off in 2022, starting in Limerick, Ireland on March 13 before wrapping in Charleston, South Carolina on June 25.

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British New Wave singer-songwriter Joe Jackson is heading out on the road. The musician will embark on the Sing, You Sinners! tour in 2022, kicking off in Limerick, Ireland on March 13 before wrapping in Charleston, South Carolina on June 25.

Jackson’s trek through Europe and North America marks his first tour outing since 2019. Tickets will be available on Friday, December 3. More information about the Sing, You Sinners! tour can be found on the official Joe Jackson website .

The tour will feature the same band that played on Jackon’s last album Fool including Teddy Kumpel (Guitar, Vocals), and Doug Yowell (Drums, Vocals, Electronics), and Graham Maby,  who will be joining the tour as a bassist and background vocalist, reprising a role he’s held since Jackson’s 1979 debut album Look Sharp .

The show will feature both the full band and a mini-set of Jackson’s solo songs. The songs will be drawn from his whole career, including some that haven’t been heard live in many years and even some new material.

Tickets for the tour will go on sale Friday, December 10 at 10 AM local, with a fan presale starting Wednesday, December 1 at 10 AM local (password: SINNERS2022).

Listen to the best of Joe Jackson and view the official Sing, You Sinner! 2o22 tour dates below.

Joe Jackson Sing, You Sinners! 2022 Tour March 13 – Limerick, IE – University Concert Hall March 15 – Dublin, IE – Olympia Theatre March 17 – York, GB – York Barbican March 19 – Cardiff, GB – St. David’s Hall March 20 – Edinburgh, GB – Assembly Rooms March 22 – Manchester, GB – Albert Hall March 24 – Birmingham, GB – Symphony Hall March 25 – London, GB – London Palladium March 27 – Portsmouth, GB – Portsmouth Guildhall March 30 – Joué-lès-Tours, FR – L’Espace Malraux March 31 – Paris, FR – Salle Pleyel April 2 – Munich, DE – Muffathalle April 4 – Frankfurt, DE – Alte Oper April 5 – Antwerp, BE – De Roma April 6 – Brussels, BE – AB April 8 – Berlin, DE – Theater at Potsdamer Platz April 10 – Milan, IT – Teatro Lirico April 11 – Dijon–Chenôve, FR – Le Cedre April 12 – Saarbrücken, DE – Congresshalle April 14 – Nijmegen, NL – Concertgebouw De Vereeniging April 16 – Amsterdam, NL – Carre April 18 – Utrecht, NL – TivoliVredenburg April 19 – Tilburg, NL – 013 April 21 – Bordeaux, FR – Theatre Femina April 24 – Valencia, ES – Teatro La Rambleta April 26 – San Sebastian, ES – Victoria Eugenia Theater April 29 – Porto, PT – Coliseu do Porto April 30 – Lisbon, PT – Lisbon Coliseum May 11 – Durham, NC – Fletcher Hall May 13 – Allentown, PA – Miller Symphony Hall May 14 – Northfield, OH – MGM Northfield Park May 16 – Ann Arbor, MI – Michigan Theater May 18 – Ithaca, NY – The State Theatre May 19 – Boston, MA – Boch Center Shubert Theatre May 21 – New York City, NY – Beacon Theatre May 22 – Washington D.C. – Lincoln Theatre May 25 – Chicago, IL – Park West May 26 – Chicago, IL – Park West My 28 – Milwaukee, WI – The Pabst Theater May 29 – Minneapolis, MN – Pantages Theatre June 1 – Boise, ID – Egyptian Theatre June 2 – Seattle, WA – The Moore Theater June 4– San Francisco, CA – The Masonic June 5 – El Cajon, CA – The Magnolia June 7 – San Luis Obispo, CA – The Fremont Theater June 8 – Las Vegas, NV – Smith Center for the Performing Arts June 10 – Los Angeles, CA – Orpheum Theatre June 11 – Phoenix, AZ – Celebrity Theatre June 14 – Dallas, TX – Majestic Theatre June 15 – Austin, TX – Paramount Theatre June 17 – New Orleans, LA – Civic Theatre June 18 – Birmingham, AL – The Lyric Theatre June 21 – Tampa, FL – Tampa Theatre June 22 – Fort Lauderdale, FL – Parker Playhouse June 24 – Atlanta, GA – Center Stage Atlanta June 25 – Charleston, SC – Charleston Music Hall

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The ‘SING, YOU SINNERS’ Tour to start in March 2022.

“We’ve been dealing with two viruses over the past two years, and the worst – the one we really need to put behind us – is Fear. Love is the opposite of fear, so if you love live music, come out and support it!” J J

Joe Jackson is launching a new tour with the same band as his last, the successful Four Decade Tour of 2019, and his last album Fool: Graham Maby (Bass, Vocals), Teddy Kumpel (Guitar, Vocals) and Doug Yowell (Drums, Vocals, Electronics).

The show will feature both the full band and a ‘mini-set’ of Joe solo. The songs will be drawn from Joe’s whole career, including some that haven’t been heard live in many years. Watch out also for some surprises, including some completely new material. The tour will take the band to some cities Joe has never played (Saarbrücken, Valencia) or hasn’t played for a long time (Bordeaux, Lisbon, Oporto) as well as seven shows in the UK and new venues in Berlin, Paris and other cities.

The pre-sale starts on Wednesday, July 28 at 10:00am BST.

The ‘Sing, You Sinners!’ Tour 2022

3/13 University Concert Hall, Limerick (IE) 3/15 Olympia Theare, Dublin (IE) 3/17 York Barbican, York (GB) 3/19 St. David’s Hall, Cardiff (GB) 3/20 Assembly Rooms, Edinburgh (GB) 3/22 Albert Hall, Manchester (GB) 3/24 Symphony Hall, Birmingham (GB) 3/25 London Palladium, London (GB) 3/27 Portsmouth Guildhall, Portsmouth (GB) 3/30 L’Espace Malraux, Joué-lès-Tours (FR) 3/31 Salle Pleyel, Paris (FR) 4/2 Muffathalle, Munich (DE) 4/4 Alte Oper, Frankfurt (DE) 4/5 De Roma, Antwerp (BE) 4/6 AB, Brussels (BE) 4/8 Theater at Potsdamer Platz, Berlin (DE) 4/10 Teatro Lirico, Milan (IT) 4/11 Le Cedre, Dijon-Chenôve (FR) 4/12 Congresshalle, Saarbrucken (DE) 4/14 Concertgebouw De Vereeniging, Nijmegen (NL) 4/16 Carré, Amsterdam (NL) 4/18 Tivoli Vredenburg, Utrecht (NL) 4/19 013, Tilburg (NL) 4/21 Théâtre Femina, Bordeaux (FR) 4/24 Teatro La Rambleta, Valencia (ES) 4/25 Teatro Nuevo Apolo, Madrid (ES) 4/26 Victoria Eugenia Theater, San Sebastian (ES) 4/29 Coliseu do Porto, Porto (PT) 4/30 Lisbon Coliseum, Lisbon (PT)

Further information can be found on www.joejackson.com

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Two Rounds of Racket Tour

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Joe Jackson at Conservatoire de Musique, Luxembourg, Luxembourg

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Joe Jackson at Liederhalle Beethovensaal, Stuttgart, Germany

Joe jackson at admiralspalast, berlin, germany.

• Take It Like a Man
• Stranger Than Fiction
• You Can't Get What You Want (Till You Know What You Want)
• Steppin' Out
• It's Different for Girls
• On Your Radio
• Waterloo Sunset
• Hello, Hello, Who's Your Lady Friend?
• My Old Dutch
• (Overture): Why, Why, Why?

Joe Jackson at Metropol Theater, Bremen, Germany

Joe jackson at de vereeniging, nijmegen, netherlands, joe jackson at muziekgebouw, eindhoven, netherlands, joe jackson at koninklijk theater carré, amsterdam, netherlands, joe jackson at de oosterpoort grote zaal, groningen, netherlands, joe jackson at the moore theatre, seattle, wa, usa, joe jackson at revolution hall, portland, or, usa.

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• Is She Really Going Out With Him? ( 722 )
• Steppin' Out ( 722 )
• It's Different for Girls ( 645 )
• You Can't Get What You Want (Till You Know What You Want) ( 579 )
• One More Time ( 538 )

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ABBA Richard Adler Ambrose and His Orchestra Harold Arlen Burt Bacharach The Beatles Walter Becker Ben Bernie & His Orchestra Chuck Berry The Bob Crewe Generation David Bowie Cab Calloway Cab Calloway and His Orchestra The Charleston Chasers Albert Chevalier Jimmy Cliff Eddie Cochran Jimmy Cox Crowded House Jackie DeShannon Manu Dibango Fats Domino Tommy Dorsey and His Orchestra Ian Dury Duke Ellington and His Orchestra Fleetwood Mac Harry Fragson Marvin Gaye Erskine Hawkins and His Orchestra Joe Jackson Band Louis Jordan Louis Jordan and His Tympany Five The Kinks The Lovin’ Spoonful Henry Mancini Bob Marley & The Wailers The Maytals Joni Mitchell Graham Parker & The Rumour Radiohead Ramones Martha Reeves and the Vandellas Smokey Robinson & The Miracles Todd Rundgren Mongo Santamaría Ron Sexsmith Steely Dan Television Suzanne Vega Fats Waller

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MR. JOE JACKSON PRESENTS “THE TWO ROUNDS OF RACKET TOUR”

Us and europe 2024, “the two rounds of racket tour” will be in two parts, with no intermission: a solo set by joe jackson of his original songs, and a set based on the album what a racket – the first performance in more than 100 years of the songs of forgotten music hall genius max champion, featuring a nine-piece band..

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WHAT A RACKET! - THE VIDEO DOCUMENTARY

WHAT A RACKET! THE VIDEO DOCUMENTARY

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Review: JOE JACKSON at At Davidson Theatre

Jackson continues “Stepping Out” by stepping into different genres of music

Trying to describe who Joe Jackson is as a musician is like applying a label on a wet bottle of beer. Every time one tries to peg what genre of music Jackson performs, the label slides right off.

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That might seem about as likely as country singer Garth Brooks ' attempt to transform into emo rocker Chris Gaines in 1999. However, those who have followed Jackson’s career have seen the singer slide among the genres of punk, ska, new wave, jazz, and classical. Jackson’s success started in the New Wave era with snide tunes like “Is She Really Going Out With Him?” and “I’m The Man.” Then he shifted into a balladeer, writing songs like “Be My Number Two,” and “A Slow Song.” He experimented with jazz on albums like “The Duke,” a tribute to Duke Ellington , and the soundtrack to “Tucker: A Man and His Dreams” and classical music on “Heaven and Hell.”

Judging by the attendance at the May 26 concert (the 904-seat Davidson Theatre was only two-thirds full), some of his audience may have chosen to stay away from this transformation. Those who did attend may have been surprised by the results.

Jackson began his first tour since 2022 armed with a synthesizer, a mysterious coffee cup, and a desire to time travel backward through his catalog. He opened the show with “Dave” from the 2019 “Fool” album, “A Little Smile” from 2015’s “Fast Forward,” and played “Love At First Light” from Joe Jackson Band 4 (2003) for the first time in Columbus.

His voice was surprisingly raspy considering this was his first stop in a 46-show, seven-country tour and he hit a couple off notes on the keyboard. After taking a pull of his coffee cup, Jackson smiled and said, “They say this stuff is good for your voice, but by the end of the tour, I can’t even stand the smell of it.”

After a brief stopover in the 1990s with “The Obvious Song” from the vastly underrated “Laughter and Lust” (1991) album, Jackson dove deep into his 1980s catalog with “Be My Number 2,” and “You Can’t Get What You Want (Until You Know What You Want),” from “Body and Soul” (1984) and “Real Men” and “Stepping Out” from “Night And Day” (1982). He was able to imitate these songs’ bassline (quite a feat on a piano) as well as its rhythm.

In the middle of the 1980s songs, a fan shouted out, “I love the 80s” and the comment forced Jackson to wax nostalgically about the decade.

“You love the 1980s? I didn’t particularly love the 80s but I must admit that’s when I had my most success,” he said with a chuckle. “Back then, people actually bought records. You could be a midrange artist and still sell records. Now you can be a big star … and sell nothing.”

After playing his only 1970s entries, “It’s Different For Girls” and “On Your Radio” from “I Am The Man” (1979), on his setlist, Jackson joked “We’ve made it back to 1979 (the year of his first album). Now we’ve reached the point where I can’t sing (any more of my songs). I didn’t write any songs in the 1960s, so I am going to have to borrow from someone else’s.”

Jackson then launched into the Beatles’ “Girl” from their “Rubber Soul” album (1965), a song “we’ve done many times before but never here in Columbus.” Jackson found a way to put his own spin on the classic, making it sound like it was being played in a Western saloon and exaggerating Lennon’s exasperated sighs.

Jackson then teased the audience, saying “we’re getting into the 1940s and 30s, the years of the Great American songbook where you had the songs of George Gershwin and Cole Porter …” After a loud burst of applause, he continued, “but everyone tries to do that. I am not going to compete with Frank Sinatra . I liked to go before that.

“I have always been interested in the Music Hall period of music. A lot of these songs are quite satirical, poking fun of the privileged and the pompous.”

Jackson played a snippet from “Hello, Hello! Who’s Your Lady Friend?” a song written by Harry Fragson, Worton David and Bert Lee in 1913. Jackson performed the song in a cameo appearance in the 2005 movie, “The Greatest Game Ever Played.”

Although he only played two of the song’s seven stanzas, he gave the audience a sampling of what was to come in the second half of the show.

When Jackson traded in his blue sportscoat and slacks for a purple top hat and overcoat for the second half of the show, it was like the singer shed his skin. Being backed by a talented nine-piece orchestra and assuming the character of Max Champion seemed to breathe new life into the singer.

Under the direction of Daniel MIntseris, the orchestra featured a brass quartet of Ricky Roshell (flute and piccolo), Jackie Copeland (trumpet), Christa Van Alstine (clarinet) and Sam Kulik (tuba/trombone) and a string section of Richard Hammond (standing bass), Lourdes Rosales Martinez (viola) and Susann Aquila (violin) – all dressed in early 1900s attire -- supported Jackson and drummer Doug Yowell.

The group came out of the intermission by shooting into “Why, Why, Why” and then segued into “What A Racket.” The whole idea of Max Champion requires a little suspension of disbelief. By the time they completed their 12-song set, the group had won over any doubters.

In his press release for the new album, Jackson said, “ These were wonderful songs in their time, but they're surprisingly modern, too. Sometimes it's almost as if Max is speaking, from his London of the early 20th century, directly to us in the early 21st."

At times the audience wasn’t sure whether to take Jackson at his word. For example, before “The Bishop and the Actress,” Jackson said, “One of the things they did back then was they wrote songs that weren’t respectable so people tried to shut them down and censor their songs. So, they used a lot of rude double-entendres and euphemisms. In this song, Max tried to write a song entirely in obscene double-entendres.

“In England, this is a thing that people do sometimes. Someone will say something completely innocent and the person will say ‘as the bishop said to the actress …’ and immediately makes it obscene. It’s like when people around here say, ‘That’s what she said.’”

In addition to the nod to Steve Carrell , Jackson poked many a finger at modern flaws under the guise of Champion. The song, “Think of the Show! A Thespian’s Lament” addresses (tongue firmly planted in cheek) why actors should be encouraged to speak their mind about their political beliefs: Ev'ry actor possesses the soul of a saint a nd a marvelous mind analytical /One never professes to practice restraint In propounding positions political /A play, you must pay to see But we proffer advice for free ! ” Such a line probably wouldn’t work in a modern pop song setting but under the guise of a Turn-of-the-20th-Century song, it hits its target perfectly and brutally.

Jackson is a master of finding and exploiting Champion’s voice with his normal acerbic wit. The song, “Dear Old Mom,” sounds like a Hallmark Mother’s Day piece of fluff at first listen. Then one hears the darkness within it – “ Eve’ry Saturday, she’d laugh as scrubbed in the bath with the biggest bar of soap you’ve ever seen. Times was hard, but we was happy… and hygienic.” The storyteller then can’t remember if he had all 10 family members then or if his brothers and sisters had been reduced to six or seven.

For the first song of his encore, Jackson pondered what it would have sounded like if Champion had composed his hit, “Is She Really Going Out With Him?” The result was a brilliant reinvention in a 1910 Music Hall style with Kulik’s tuba taking over the bass line.  

PHOTO CREDIT: Paul Batterson

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Joe Jackson: The 'Sing, You Sinners!' Tour

• Date May 25 , 2022
• Event Starts 7:30 PM
• Doors Open 6:30 PM
• On Sale On Sale Now
• Ages 18 & Over

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Per current Chicago Public Health Ordinances as of February 28, 2022, Park West will not require a mask or proof of vaccination to attend a show unless specifically requested by the artist on a per show basis. Please refer to individual show pages for details. All policies subject to change. 

New Michael Jackson Musical Celebrates His Greatness While Mostly Avoiding the Dark Stuff

By David Browne

David Browne

In the first of several such scenes in  MJ , the new Broadway musical about one of the pop’s most explosive and, now, polarizing figures, a fictional MTV reporter tries to get Michael Jackson to open up. Jackson, played by Myles Frost down to the trademark billowy white shirt, curly ponytail, and feathery voice, demurs: “I want to keep this about music.” To which the reporter responds, “Is it possible to separate your life from your music?”

Returning to the topic later in the show, Jackson also tells her, “Listen to my music. It gives you all the answers you need.” Yet that original question hovers throughout the two and half hours of  MJ , finally premiering on Broadway after a lengthy Covid-relayed delay. Bio-musicals have come to be a tourist-friendly tradition on Broadway. But from its equally beloved and debated subject to its often inventive structure, MJ  is far more unconventional — and far more complicated — than previous shows on the sagas of the Four Seasons, Cher or Carole King. You’ll leave the Neil Simon Theatre (where the show opens tonight) both on a giddy high from Jackson’s music but also grappling with what was and wasn’t incorporated.

Produced with the cooperation of Jackson’s estate, MJ makes it clear from the start where it won’t be venturing. As theatergoers are still finding their seats, cast members (portraying backup dancers, musicians and technicians) begin wandering onto the set, which is made to resemble a workaday warehouse space. It’s 1992, a few days before Jackson’s Dangerous tour is scheduled to start, and Jackson and his team are putting the finishing touches on the show. Also mimicking real life, they’re joined on this day by the above mentioned fictional MTV producer and her cameraman, there to make what the camera guy calls a “puff piece” promoting the tour. They’re promised behind-the-scenes access to watch the show come together and interview the notoriously press-shy star, who hasn’t granted an interview in (the show says) in 14 years.

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Written by Pulitzer-winning playwright Lynn Nottage and directed by Christopher Wheeldon, the British choreographer known for his work in the ballet world, MJ  doesn’t completely dispense with the standard bio-musical narrative tradition. The show recreates some of Jackson’s career milestones, at least until 1992: rehearsing with the Jackson 5 in their home, meeting Berry Gordy (who signs them to Motown), collaborating with Quincy Jones on  Off the Wall and Thriller , being handed Grammy after Grammy, reuniting with his brothers for the semi-botched Victory reunion tour.

As we watch Jackson and his team fine-tune the Dangerous show, those moments in time are woven into the story as flashbacks. A quick exchange with the MTV producer (played by Whitney Bashor) or a rehearsal of an older Jackson 5 hit triggers Jackson, pulling him back in time to remember either a happy or painful moment in his life. “It’s not the old songs,” he tells her of his reticence to sing his former group’s hits. “It’s the memories.”

The setup sounds clunky, but most of the transitions between past and present are seamless, thanks to Wheeldon and also to cast members portraying more than one role. As both the Dangerous tour director and Jackson’s overbearing father Joseph, Quentin Earl Darrington (who looks a bit like Dwayne Johnson’s less beefy brother) navigates between those roles in several scenes. A rehearsal of a Jackson 5 medley pulls Jackson back into his childhood: In one, he watches as his childhood self (exquisitely portrayed by Christian Wilson, one of two actors in that early-Michael role) and his mother (played by Anaya George) duet on “I’ll Be There.” The pained look on Frost’s face as he watches is among the show’s most poignant moments. That moment is one of several in which one of Jackson’s hits — like ”Human Nature” and “Stranger in Moscow” — is used astutely as a commentary on his mindset and actions, rather than just as a way to recreate a well-known performance. (That’s the case with “Billie Jean,” presented as if it’s straight out of of the Motown 25 special.) Forced to live up to a commitment to give a press conference to promote the tour, Jackson is surrounded by dark-lit “reporters” who resemble vampires, leading into a performance of “They Don’t Care About Us,” one of his angriest and most defensive songs.

Frost, who has appeared on The Voice and had a small role in the 2019 film All In,  has clearly studied Jackson’s moves. He mimics the moonwalks and body ticks — the way Jackson could shrug each shoulder up and down or flick his wrist while performing. He doesn’t just capture his playfulness and pillow-soft voice but also the flashes of anger and frustration that would sometimes emerge when he spoke. The performance reminds you how much Jackson brought to pop, choreography and celebrity mystique. The show also benefits from the songs, which, like Frost’s performance, are largely note-for-note recreations: from Jackson 5 hits (“I Want You Back,” “ABC,” “Dancing Machine”) up through various songs from Jackson’s own catalog. There are some head-scratchers: During a scene in which Jackson is guilt-tripped into participating in the 1984 “Victory” tour with his brothers, the cast breaks into the O’Jays’ “For the Love of Money,” but one of the key tracks on Dangerous , “Remember the Time,” isn’t heard at all.

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All that said,  MJ  doesn’t tell us anything we don’t know: The narrative is a collection of Jackson’s greatest character-shaping hits. We already know that Joseph Jackson was so driven and so hungry for a piece of fame that he hit or threatened his young son for seeming to disobey him. We know Michael wasn’t thrilled to partake in the “Victory” tour but went along with his father and brothers. We know he became addicted to painkillers thanks to having part of his scalp burned during that horrific 1984 soda commercial filming. We know that, by 1992, he was keeping up on business and was feeling the pressure to compete with hip hop, grunge and more recent pop acts. (“God will give the idea to Prince,” he says with a giggle when he tosses out a new production idea.)

During one of his “interviews,” Jackson lashes out at the press for the “lies,” prompting Rachel, the MTV producer, to respectfully confront him about the way he also works the media and may secretly want all that attention. But by and large, the portrait of Jackson is largely sympathetic. He’s a victim, worn down by the media, his addiction and his own ambitions, and relentlessly haunted by his relationship with his father. (As Rob the tour manager barks at him at one point, “You’re not eating or sleeping!”) We see him come down hard on one of his dancers or toss off so many new ideas for tour staging (a Jetpack!) that a business manager has to repeatedly barge into the rehearsals and tell him he’s spending too much. If Jackson is guilty of anything, MJ says, it’s being too creative and driven for his own good, all In his quest for a level of perfection that has its roots in Joe Jackson (in another flashback) mocking young Michael for his “big fat nose.”

And, of course, setting the story in 1992 allows the creators to completely sidestep the child-molestation accusations and lawsuits that began piling up a year later. (In 2005 Jackson was acquitted of all criminal charges.) That eruption led to the cancellation of the planned last leg of the  Dangerous  tour, since Jackson also claimed he’d become addicted to pills to cope with the stress. The only hint of this pending controversy is the moment when one of the tour executives, complaining about the runaway spending on the show, quickly asks about the “family” that will be accompanying Jackson on the road. The clear-cut villain remains his father. The darkest moment in MJ arrives during a late-show production number in which Jackson is chased around a hellscape set by a demonic figure, again played by Darrington. Is Darrington evoking Joseph Jackson or just one of the horror-movie monsters Jackson himself was drawn to? Either way, Jackson is left looking shell-shocked and traumatized. The closing special effect  — no spoilers — rams home how world-conquering but alone he was.

MJ ends without any updates on Jackson’s life after 1992, which is likely to gratify some and infuriate others. As part of his posthumous rehabilitation effort, MJ wants you to remember all the best things about him and not dwell on what came next. You’d almost think Jackson died right after Dangerous and not 17 years later. And maybe in that way, this equally exhilarating and confounding show really does have it right: Whether you believe the allegations made against him or not, there’s no question that a part of Jackson left the building on those world stages nearly 30 years ago.

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Joe Jackson, ‘Fast Forward’: Album Review

On Fast Forward , Joe Jackson 's first collection of new songs since 2008’s Rain , the singer-songwriter hasn't so much revisited a nearly 30-year-old concept as stood it on its head. It's best to think of the album as the exact opposite of 1986's Big World .

For that record, Jackson's material reflected his experiences traveling around the world, and he performed it with his band in front of a New York audience. Here, he recorded 16 songs in four cities -- New York, Amsterdam, Berlin and New Orleans -- with a different group of musicians at each stop. It's kind of like what Foo Fighters did with Sonic Highways in 2014.

Even with the changes in musicians and cities, there’s a coherence to Fast Forward , largely because Jackson keeps the arrangements uncluttered, with his keyboards and voice — which sounds much younger than his 61 years — front and center. And, with the exception of the New Orleans tracks, he’s not trying to fit in with a particular city’s musical traditions. These are Joe Jackson songs, and, most importantly, they’re some of the best he’s put out in 20 years.

In New York, Jackson and longtime bassist Graham Maby are joined by a pair of top jazz players who have experience working with adventurous rock musicians, guitarist Bill Frisell and drummer Brian Blade. Regina Carter also stops by to contribute violin on the title track . The quartet blends perfectly together, with Maby's runs on "If It Wasn't for You" and Frisell's squalling solo on a blistering version of Television's “See No Evil" as highlights. Blade brings the perfect touch on all four songs.

The Amsterdam songs are the most experimental, with members from Dutch group Zuco 103 and the Concertgebouw orchestra providing the accompaniment. “ A Little Smile ” is a solid pop song that wouldn’t have sounded out of place on 1991’s Laughter and Lust , and “So You Say” has a wonderful Latin jazz groove. But the decision to begin “Far Away” by giving a vocal spotlight to 14-year-old Broadway actor Mitchell Sink doesn’t pay off.

Then it’s on to Berlin, where the subject matter and singable chorus of “Junkie Diva” could’ve come from Steely Dan ’s Katy Lied . But the next two cuts plod along, and the cover of “Good Bye Jonny,” a German cabaret song from the ‘30s, doesn’t fit with the rest of the album.

Jackson closes in New Orleans, always a good place to look for musical inspiration. Three members of the excellent funk band Galactic back him, as does a horn section. They give a solid groove to “Keep on Dreaming” and the slyly Beethoven-quoting “Ode to Joy,” which ends the record on an upbeat note instead of Jackson's usual ambivalence.

Lyrically, Jackson isn’t breaking new ground here. He’s still mostly trying to figure out the complexities of the modern world and yearning to connect. Yet by continuously putting them in new musical settings, they don’t sound like retreads. A few more uptempo numbers would have helped, but that’s been the case with much of his work over the past 25 years. Regardless, Fast Forward is an experiment that works well and shows Jackson’s typical musical restlessness is aging well.

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• Joe Jackson

Sing, You Sinners! Tour

• Date May 28 , 2022
• Event Starts 8:00 PM
• Venue The Pabst Theater
• Doors Open 7:00 PM
• On Sale Availability On Sale Now

Event Details

Joe Jackson is launching a new tour with the same band as his last, the successful Four Decade Tour of 2019, and his last album “Fool.” The show will feature both the full band and a 'mini-set' of Joe solo. The songs will be drawn from Joe's whole career, including some that haven't been heard live in many years. Watch out also for some surprises, including some completely new material.

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For group sales information, please email  [email protected]  or call (414) 286-6200. Inquiries can also be submitted via our  Group Sales Page .

Please note that group rates are typically offered for groups of 20 or more, but are sometimes offered for groups of 10 or more. Discounts range from 10-20% but vary from show to show (not all shows support a group rate due to high demand or other restrictions).

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SMALL PURSES ONLY, PLEASE. PURSES ARE SUBJECT TO SEARCH To efficiently create a positive and safe experience for all patrons, only small purses (13″W x 4″D x 9″H and smaller) are allowed into the theater and all are subject to search.

All other bags  including backpacks and oversized purses are  strictly prohibited  and  bag storage is NOT available  at The Pabst, The Riverside, Turner Hall Ballroom or The Back Room @ Colectivo.

THE FOLLOWING ITEMS ARE PROHIBITED AND ARE NOT ALLOWED INTO ANY OF THE VENUES. Weapons, laser pens, signs, banners, electronic smoking devices (vapes, Juuls, etc.), oversized bags, backpacks, outside food and beverages including water, cans, bottles, alcohol, illegal substances, iPads/tablets, selfie sticks, laptops, professional audio recording devices (unless approved by artist), and any professional photography equipment. The use of vape pens inside the venues are prohibited as well.

PLAN AHEAD: LEAVE YOURSELF EXTRA TIME Plan to arrive 30 minutes before you want to be in your seat  to allow time to go through our security check.  Please leave large bags at home or in your car.

We are not responsible for any personal property that is lost, stolen, or damaged.

Thank you for helping to make all of our events efficient, enjoyable and safe for all.

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Joe Jackson Schedules ‘Sing, You Sinners!’ European and US Tour For 2022

British New Wave singer-songwriter Joe Jackson is heading out on the road. The musician will embark on the Sing, You Sinners! tour in 2022, kicking off in Limerick, Ireland on March 13 before wrapping in Charleston, South Carolina on June 25.

Jackson’s trek through Europe and North America marks his first tour outing since 2019. Tickets will be available on Friday, December 3. More information about the Sing, You Sinners! tour can be found on the official Joe Jackson website .

The tour will feature the same band that played on Jackon’s last album Fool including Teddy Kumpel (Guitar, Vocals), and Doug Yowell (Drums, Vocals, Electronics), and Graham Maby,  who will be joining the tour as a bassist and background vocalist, reprising a role he’s held since Jackson’s 1979 debut album Look Sharp .

The show will feature both the full band and a mini-set of Jackson’s solo songs. The songs will be drawn from his whole career, including some that haven’t been heard live in many years and even some new material.

Tickets for the tour will go on sale Friday, December 10 at 10 AM local, with a fan presale starting Wednesday, December 1 at 10 AM local (password: SINNERS2022).

Listen to the best of Joe Jackson and view the official Sing, You Sinner! 2o22 tour dates below.

Joe Jackson Sing, You Sinners! 2022 Tour March 13 – Limerick, IE – University Concert Hall March 15 – Dublin, IE – Olympia Theatre March 17 – York, GB – York Barbican March 19 – Cardiff, GB – St. David’s Hall March 20 – Edinburgh, GB – Assembly Rooms March 22 – Manchester, GB – Albert Hall March 24 – Birmingham, GB – Symphony Hall March 25 – London, GB – London Palladium March 27 – Portsmouth, GB – Portsmouth Guildhall March 30 – Joué-lès-Tours, FR – L’Espace Malraux March 31 – Paris, FR – Salle Pleyel April 2 – Munich, DE – Muffathalle April 4 – Frankfurt, DE – Alte Oper April 5 – Antwerp, BE – De Roma April 6 – Brussels, BE – AB April 8 – Berlin, DE – Theater at Potsdamer Platz April 10 – Milan, IT – Teatro Lirico April 11 – Dijon–Chenôve, FR – Le Cedre April 12 – Saarbrücken, DE – Congresshalle April 14 – Nijmegen, NL – Concertgebouw De Vereeniging April 16 – Amsterdam, NL – Carre April 18 – Utrecht, NL – TivoliVredenburg April 19 – Tilburg, NL – 013 April 21 – Bordeaux, FR – Theatre Femina April 24 – Valencia, ES – Teatro La Rambleta April 26 – San Sebastian, ES – Victoria Eugenia Theater April 29 – Porto, PT – Coliseu do Porto April 30 – Lisbon, PT – Lisbon Coliseum May 11 – Durham, NC – Fletcher Hall May 13 – Allentown, PA – Miller Symphony Hall May 14 – Northfield, OH – MGM Northfield Park May 16 – Ann Arbor, MI – Michigan Theater May 18 – Ithaca, NY – The State Theatre May 19 – Boston, MA – Boch Center Shubert Theatre May 21 – New York City, NY – Beacon Theatre May 22 – Washington D.C. – Lincoln Theatre May 25 – Chicago, IL – Park West May 26 – Chicago, IL – Park West My 28 – Milwaukee, WI – The Pabst Theater May 29 – Minneapolis, MN – Pantages Theatre June 1 – Boise, ID – Egyptian Theatre June 2 – Seattle, WA – The Moore Theater June 4– San Francisco, CA – The Masonic June 5 – El Cajon, CA – The Magnolia June 7 – San Luis Obispo, CA – The Fremont Theater June 8 – Las Vegas, NV – Smith Center for the Performing Arts June 10 – Los Angeles, CA – Orpheum Theatre June 11 – Phoenix, AZ – Celebrity Theatre June 14 – Dallas, TX – Majestic Theatre June 15 – Austin, TX – Paramount Theatre June 17 – New Orleans, LA – Civic Theatre June 18 – Birmingham, AL – The Lyric Theatre June 21 – Tampa, FL – Tampa Theatre June 22 – Fort Lauderdale, FL – Parker Playhouse June 24 – Atlanta, GA – Center Stage Atlanta June 25 – Charleston, SC – Charleston Music Hall

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