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And even when they’ve sworn up and down and even signed “legal” documents (see Mötley Crüe), faced debilitating health conditions (see Peter Frampton) or later changed lineups to tour again (see KISS), fans can have a degree of skepticism of promises of “the last time.”
But as musicians now reach into their 70s and even 80s, the “farewell” tag is more legit. Eagles (and yes, they are technically just “Eagles” without the “The”) have at least always had a sense of humor about such things.
After the band’s initial breakup in 1980, singer/drummer Don Henley famously said they’d reunite “when hell froze over.” Hence, their 1994 live reunion record was called…Hell Freezes Over.
“For the record, we never broke up. We just took a 14-year vacation,” co-founder Glenn Frey quips on the disc. Then in 2003, the embarked on the tongue-in-cheekily titled “Farewell 1 Tour” and a decade later the “History of the Eagles” tour.
But the current trek, titled “The Long Goodbye” which began last year and stretches (at least for now) to this summer will likely be the last time the band goes on the road. So, this was likely Houston’s last chance to see the group.
At this point, reviewing an Eagles concert is almost bulletproof as the group has finely-honed a show that is the definition of crowd pleasing with a hit-after-hit setlist. All played by precise and talented musicians, bathed in the warm glow of nostalgia.
When the deepest cut is the “In the City,” you know you’re not going to get “The Greeks Don’t Want No Freaks,” “Journey of the Sorcerer” or anything from Long Road Out of Eden.
And that was more than perfectly fine on this Friday night as Eagles soared aloft with original member Don Henley, and classic lineup members Joe Walsh (guitar/vocals) and Timothy B. Schmit (bass/vocals) leading the flight pattern.
The all-killer-no-filler set opened with the glorious six-man harmony and guitar/bass work on “Seven Bridges Road,” often used back in the day as a vocal warm up for the group. It was the perfect kick off to two hours of great—and often moving—music.
Henley proved an amiable host, thanking fans for their decades long support. “We’ve been playing this music for 52 years,” he said to applause. Then promised a show with “no flashing lights, no confetti cannons, no butt-waving choreography. Just a bunch of guys with guitars.” And that was all that was needed (though occasional graphics and live stage video on the large screen behind added rather than detracted from the music).
As has been for several years, singer/guitarist Glenn Frey’s sizable hole caused by his 2016 death has been filled by his son Deacon Frey and country artist Vince Gill (both on vocals/guitar).
Frey did his father proud, with his Travis Tritt-grit voice illuminating his dad’s “Take It Easy,” “Peaceful Easy Feeling,” and “Already Gone.” And while his stage presence is minimal and he sings with his eyes closed, the sunglasses on top of his head were likely a subtle tribute to his father, who often wore them the same way in photos.
And then there’s Vince Gill. He’s a super talent and a nice enough guy with his own career, but…he’s just not a good fit for the Eagles.
No one expected he or Deacon to replicate the brash, cocksuredness of Glenn Frey in his delivery. But Gill’s singing on his share of the material was just too…clean, pristine. Even robotic.
There was no vocal accusation in “Lyin’ Eyes,” no wistful regret in “Tequila Sunrise,” and no romantic yearning in “Take it To the Limit.” Songs which called for a spark were delivered with safety. Though he did acquit himself well on “New Kid in Town.”
Of the main Threeagles, Joe Walsh sounds—and acts—exactly like the Joe Walsh you want. He brought the big rock star energy—along with non-Eagles hits like the highlights “Funk #49” from the James Gang and a raucous “Rocky Mountain Way.”
But his best moment came with The Long Run track “In the City.” Walsh projected passion looking out on that horizon for something better, no matter if it’s the billionth time he’s sung it. And yes, I did wish for some movie footage from the end of The Warriors (when the song is memorably heard) when he was doing it!
The former substance abuser who used to literally use a chainsaw to cut passageways in hotel walls (as he chronicles in “Life’s Been Good”) also had fun with his reputation, delivering lines like a practiced standup comic. “I’ve been here often before” he told the audience. “Police reports tell me that I had a good time.”
Vocally, some interesting things went on with Henley and Schmit. The former seemed too often sing in a cleaner, higher register, losing some of his trademark bottom grit from the records and tours. He utterly commanded a swampy, dirtier arrangement on “Witchy Woman” and drove his solo hit “The Boys of Summer.”
His high point came near the end of the show, though, bringing extra emotion to the already emotionally charged “Desperado.” And despite it being a punchline on an episode of Seinfeld, its theme of looking back on life and romantic regrets rang even truer to the gray hairs both onstage and in the audience.
Schmit had a bit of vocal warble but delivered with signature tune “I Can’t Tell You Why” (though, tellingly, Gill took the higher-than-high registered “Take it To the Limit,” formerly a showcase for the late Randy Meisner).
The vocal comments are absolutely not a criticism of either man—who can both still sing their asses off at 76. And no one expects men in their senior years to sound the same as their decades younger selves. In fact, it’s more of a credit that they’ve adapted to the March of Time.
Longtime touring guitarist Smith was the evening’s unsung hero, handling much of the heavy lifting while solos from Scott Crago (drums), Will Hollis (keyboards) and Michael Thompson (piano) rounded out the stage performances.
Finally, show closer “Heartache Tonight” was a foot-stomping, hand clapping end to the proceedings, with cameras turned to the crowd for the song’s duration. But no heartache here—it was all smiles reflected back from the audience to the audience.
On paper, the snarky, intricated, jazz-inflected music of Steely Dan might seem an odd choice to open for the country rock Eagles, but it really makes perfect sense.
As our own Tom Richards pointed out in his show preview, they’ve namechecked each other in songs (even if the Dan’s tribute tinged with sarcasm), and they’re both managed by super agent Irving Azoff. And of course, they both have lots of hits.
Though Donald Fagen (vocals/keyboards) and the late Walter Becker (guitar) were the taskmaster leaders and nominally the group’s only constants, “Steely Dan” was always more of a studio concoction for the pair’s exacting taste. 1980’s two-years-in-the-making Gaucho reportedly required the services of more than 40 different players.
So truthfully, Becker’s 2017 death didn’t really affect the live show, seeing as how Jon Herington has done most of the guitar work for the past two-plus plus decades. And he was on fire again tonight, ripping out the solos on “Kid Charlemagne,” “Bodhisattva” and of course “Reelin’ in the Years” in their hour-long set.
Fagen has long overcome the stage fright and general low keyness that helped keep Steely Dan from touring during most of the ‘70s, though in this century they’re practically road dogs.
Twelve other musicians besides Fagen were on stage, and they’re all worth mentioning by name because they’re all crack players: Jon Herington and Adam Rogers (guitars), Freddie Washington (bass), Keith Carlock (drums), Jim Beard (keyboards), the horn section of Michael Leonhart (trumpet), Jim Pugh (trombone), and Roger Rosenberg and Walt Weiskopf (saxophones).
I wasn’t the only one in the crowd who commented that Weiskopf was a near doppelganger of new Houston Mayor John Whitmire.
Vincent Ruggiero (aka Classic Rock Kid) reps Steely Dan in his T, but his fave childhood group was the Eagles.
Photo by Bob Ruggiero
And of course, the “Danettes”—Catherine Russell, Carolyn Leonhart and La Tanya Hall provided backing vocals. They handled “Dirty Work” more than nicely on their own, flipping the gender travails of the original tune.
Other highlights included a smoldering “Aja” (with Carlock standing out), a frenetic “Kid Charlemagne,” and a lively, joyous “Peg.” The 76-year-old Fagen has lost some of his vocal strength, but the Danettes beefed up the sound singing harmony on several tunes.
All in all, it was a wonderful show of two great bands, near-faultless playing and delivery, and lots of memories. And “Hotel California” can still give you goosebumps.
In “Kid Charlemagne,” Donald Fagen’s drug-dealing narrator (based on real-life Grateful Dead acid guru Owsley Stanley III) famously asks “Is there gas in the car?”
Well, the musical automobiles known as the Eagles and Steely Dan still have plenty of gas in their cars. Even if their vehicles have about reached the end of the road.
Overheard in the Crowd
“Today, I found out what a bodhisattva was!” – Vincent Ruggiero, aka Classic Rock Kid.
Random Notebook Dump
I really, really want the sexy, black-clad Danettes to just follow me around during the day like a literal Greek Chorus and sultrily sing life-affirming admonitions to me. “You WILL finish your PROJECT on TIME, BOB!” or “They WON’T turn off your CABLE if you pay MOST of the bill this MONTH, BOB!”
Random Notebook Dump II
A golden, once-in-a-lifetime opportunity was missed to pay tribute to the recently-deceased Mojo Nixon by the Eagles not playing one of his signature tunes, “Don Henley Must Die.”
Setlists
Eagles
Seven Bridges Road
Take It Easy
One of These Nights
Lyin’ Eyes
Take It To the Limit
Witchy Woman
Peaceful Easy Feeling
Tequila Sunrise
In the City
I Can’t Tell You Why
New Kid in Town
Life’s Been Good
Already Gone
The Boys of Summer
Funk #49
Life in the Fast Lane
Encore
Hotel California
Rocky Mountain Way
Desperado
Heartache Tonight
Steely Dan
Phantom Raiders (instrumental)
Josie
Hey Nineteen
Aja
Kid Charlemagne
Dirty Work
Black Cow
Bodhisattva
Peg
My Old School
Reelin’ in the Years
A Man Ain’t Supposed to Cry (instrumental)
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Bob Ruggiero
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