'Going alone' to concerts, plus some book and record reviews

Is it worth it to go to concerts alone? I say yes. Some concert experts chime in. Also, Marcus King, Charley Crockett and lots of Slash

Alone on the rail for Blackberry Smoke at the Pageant in St. Louis. This was probably my most successful show going alone — I talked to lots of people, met plenty of others who were there alone and watched the show from the front and center spot.

I never even considered going to concerts alone until last year.

At first, it felt weird. But I’ve gotten comfortable with it, and found that I’m often not alone in going to concerts by myself.

If I have the choice, I prefer to go with other people who also enjoy the performer. As one of the concert experts who answered my questionnaire said on going to concerts alone: “I have and I do. I’d rather not, but it happens.”

And, as another said: “I’m not there to hang out. I’m there to enjoy the music. If people want to join me in that experience, that’s great. But I’m not going to miss it if they don’t.”

That sums up the way I feel exactly.

I also think there are chances, as one respondent said, “to create an individual experience” when you go by yourself that can be difficult when trying to consider the feelings and comfort of those you’re with.

Also, as a respondent mentioned: “I’m there to be moved by music. I don’t like having to worry about the enjoyment of someone who just agreed to go but isn’t a big fan.”

This is a photo from the first concert I went to by myself — Lukas Nelson and the Promise of the Real at the Castle Theater in Bloomington in 2023. I tried some crowd banter that night, but it was awkward. I had fun, but had a lot to learn.

I’ve had some growing pains in “going alone,” and can still be shy about talking to people in certain situations. But I learned a lot attending shows with concert buddy Shawn Hillman. And while I’d rather he be there with me, watching him work the crowd near him was inspiring. I try to bring out my inner reporter and just ask questions. It’s been successful.

Here’s some great advice from one respondent: “Pee and drink ahead of time so you can establish yourself. Don’t be afraid to say hello and enter into banter with those around you. It makes it enjoyable and helps keep the spot. Typically if I’ve stood in my spot for awhile, and have been friendly with those around me, I’m good to come and go.”

For me, there’s not much more fun, invigorating and life-affirming than watching live music, especially from a performer I really enjoy. Also, I grew up an only child, and now I live with my wife and kids, so doing something alone can be both comforting and refreshing. I get that it’s not for everyone, but I see lot of going alone (and with others) in my future.

RECORDS

Marcus King, Mood Swings

Marcus King’s new record came out last month but I avoided reviewing it immediately because I wasn’t quite sure what I thought. The first two songs have a lot of production on the instruments and harmonies that aren’t common on King’s previous work (or on much of the music I prefer to listen to).

But once I listened to the rest of the album, I loved it. And as I put those first two songs on in the car one night, I started feeling the vibe — and at the same time, the music caught my wife Liz’s attention. She liked it, appreciating some of the more modern production techniques, and we were both able to snag $25 tickets to the St. Louis show at the Pageant coming up May 29.

The passion and intensity King sings with is what stands out about this album, which is about mental health but never comes off as preachy or goes off the rails trying to show how “crazy” he is. Instead, he gives us snippets in time of his struggles, and it’s powerful.

His previous records were always eclectic musically, with plenty of soul influence. But he left much of the blues, jazz, country and guitar heroics from his earlier work behind with Mood Swings. I hope that’s not permanent, but it fit this material and I also hope it helps bring him to more new ears, because there isn’t anyone out there doing it better than King.

And while in some ways the record is more sparse than some of his previous work, there’s still horns, keys, multiple guitars and major contributions from the background singers. This is still a Marcus King album.

Standout tracks on Mood Swings include “Hero,” “This Far Gone” and “Me or Tennessee,” though there isn’t a stinker.

Charley Crockett, $10 Cowboy

I’d heard the name, but had never listened to Crockett — when I saw he had a new record, I thought I’d jump in.

And, I’m blown away by $10 Cowboy. It explores several different styles of country music, including the outlaw variety, and also leans into a 60s or 70s soul sound that has me excited about what the future could hold for this extremely talented musician.

Crockett didn’t start out so country, but he’s gone more that direction in recent records. On $10 Cowboy, at times I’m longing for the less country sound while Crockett is reeling off honky tonk hit after honky tonk hit. But other than one song — the forgettable “Ain’t Done Losing Yet,” — each one brings a musical craftsmanship and commitment to the bit that’s endearing.

Bottom line — if you don’t like older country, other than two or three songs — “America” and the brilliant “Gettin’ Tired Again,” in particular — this record probably isn’t for you.

But the first song, the title song, “$10 Cowboy,” is so captivating, with it’s Waylon-like guitar riff and some mean keys that come in after the first chorus, it’s worth broadening your horizons for. I also love what sounds like a John Anderson tribute with “Solitary Road.”

Slash, Orgy of the Damned

I hadn’t listened to any Slash since dabbling in Velvet Revolver a long time ago. After reading his biography, I tried going back and listening to Guns n’ Roses, and other than a few songs, I can’t handle Axl’s voice anymore.

But I always liked the way Slash played, and with the Black Crowes’ Chris Robinson singing the first song on this album, a remake of “The Pusher,” I figured I’d check out his newest effort.

While some of the selections feel a little tired, Slash and a different guest manage to bring something fun and different to nearly every song. “Papa Was a Rolling Stone” with Demi Lovato doesn’t work — it’s a skipper. “Hoochie Coochie Man” with Billy Gibbons and “Born Under a Bad Sign” with Paul Rodgers are fine but nothing special. But “The Pusher,” “Crossroads” with Gary Clark and “Awful Dream” with Iggy Pop are all standouts.

This is a fun album to listen to, and a great format for Slash — kind of like Santana’s Supernatural, but with blues rock standards. And I could definitely listen to more Slash and Chris Robinson collaborations … .

BOOKS

Life in the Fast Lane, by Mick Wall

Love or hate the Eagles, or feel somewhere in between, as I do, they’re endlessly interesting.

Don Henley and Glenn Frey were assholes, but that’s well-covered in a book that Wall borrows heavily from — Don Felder’s “Heaven and Hell,” which I reviewed in this space and much prefered.

From the beginning, the way this book, released in 2023, is written makes it feel like it’s a lead-up to when Wall is actually going to get to the meat of the content. But, at some point, you realize that’s just the way it’s written — like the subject matter really isn’t worth a proper storytelling technique. The contempt Wall has for the band is palpable.

But for someone who came to the Eagles through Hotel California in my parents’ record collection, and Their Greatest Hits (1971-1975) in all my friends’ cassette collections, this book made me understand the commercial and cultural power of those two records.

And there’s definitely some fascinating Laurel Canyon history in this book. And plenty of perspective to why the band is so popular and hated at the same time. Some of that perspective is worth something, but most of it is worthless. If you like the music, listen to it. If you don’t, don’t.

Most of the non-Hotel California stuff doesn’t appeal to me at this point, but I’ve never tired of that one. And I’m going to listen to it no matter how uncool that makes me to The Big Lebowski.

Slash, by Slash

When I started reading biographies about musicians when I was a kid, this is the kind of thing I was looking for — lots of wild living!

Slash did all the drugs, drank all the liquor, dated porn stars and climbed to the heights of rock stardom while rarely changing his clothes. It’s amazing how many names get dropped in this you wouldn’t expect — for instance, David Bowie was Slash’s mom’s boyfriend for awhile during his teen years.

As is often true in these biographies of excess (except, of course, Keith Richards’ “Life”), the hard living eventually catches up. Slash had several crippling heroin addictions, but it was drinking a gallon of vodka a day that almost ruptured his heart. He had a defibrillator in his 30s, but that only slowed him briefly. He switched up to wine eventually and began a run with oxycontin that finally shook him hard enough to take rehab seriously.

While Slash’s story is amazing, the editing in this 2009 book is not. Anthony Bozza, a former Rolling Stone staff writer, is the co-author. There are more errors and repeated thoughts in this book that any major release I’ve ever read.

That said, I’d still recommend this. It’s wild.

Coming up

After a few weeks off from concerts, I return with a big week — Marcus King in St. Louis (May 29), the Steepwater Band in Normal (May 31) and, finances permitting, the Allman Betts Band in Peoria (June 2). I’ll be alone in Normal and Peoria, and Liz and I would love to see you in St. Louis, so come on out if you want to join me for a great show! Reviews coming soon.

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