Shortstop Concert Hall Westfield MA 09 Nov 24 Jimm O’D
I left Tom Ingram’s 80’s Show feeling like I had attended an Event. In fact, I had- I just didn’t realize it when I first arrived. It had been a while since my last encounter with the Tom Ingram Band; these shows always come with a healthy dose of what they call ‘audience appreciation’ (otherwise known as excitement), and this was everyone’s first experience in the new Concert Hall at Shortstop in Westfield. The band had planned a super-fun set-list for the occasion. The atmosphere was charged with this combination of elements.
There was no need for warming-up here. The band bounded into Bowie’s “Let’s Dance,” the audience jumped up in response, and the lights fired up to accentuate the charge. Three fifty-minute sets (with the phrase ‘short break’ being entirely accurate) kept the momentum going with blast after blast of alt-edged, post-punk power-pop, all showcasing a wide range of music from what might otherwise be called the “Fairlight Era.” There are no synths or keys in this band. Basically a power trio, the character and complexity of the originals are carried by Tom’s two right-hand men, Gibson and Fender. Nor does this become a seventies-style “guitar-hero” indulgence, either. These are very precise presentations, but rendered as versions, without exactly duplicating or simply ‘covering’ the selections.
This becomes one of the most fascinating things about Tom Ingram’s delivery. The band epitomizes the ideal of ‘flawless execution’ as they drive through a playlist of radio songs, album tracks, and deeper cuts by The Police, The Clash, Duran Duran, and just about every other name that likely comes to mind in such company. We get some fairly straightforward rockers like Journey, Bon Jovi, Bryan Adams, Toto, and Hall & Oates; and the under-side of the period is represented by material from the likes of Split Enz, INXS, Tears For Fears, Simple Minds, The Cure, and Gary Numan. Sprinkle in a sampling of chart-toppers by The Go-Go’s, Loverboy, Scandal, Human League, and punctuate all that with giants of the genre like Genesis, Peter Gabriel, Rush, and Prince… what follows is both cohesive and extensive.
This show is really more of a tribute to an era that cleverly combined creativity with commercial appeal. This was a fun time, when genres were melding the after-effects of the New Wave with a smooth-groove art-form that remains recognizable and relevant over time. This ain’t no disco, but it has all the danceability that comes with that turf.
Listening to Toto’s “Africa” and not even thinking about the layers of keyboards, never noticing any difference in the live sound versus the lush studio production, and (this is what really struck me) lacking nothing even without the legendary, exquisite backing vocals in the original – all of this set the tone for the rest of the night, continuing to impress with that impeccable competence. Likewise, a couple of Genesis songs were not one whit wanting for the absence of keyboards. This is not to say that there are no backing vocals, however. Amy Sullivan’s understated and complimentary presence supports the songs without distracting from the overall effect. Occasional vocal contributions from formidable bassist John O’Boyle likewise enhance without interfering. Drummer Jim Fogarty has his hands full, and expertly so- no need to saddle him with singing. Besides, his skills as an engineer and producer are put to use as he reaches to tweak the sound while the show goes on.
Guest vocalist Bob Landouer added to the good-time element several times over the course of the evening, with Rush’s “Distant Early Warning” standing out as a great way to show off the band’s mastery of this specialized type of entertainment. Not that his input is needed to make the front-man’s job a little easier; it just adds to the dynamic-. Tom’s manner is equally at ease and entirely upbeat throughout the entire show; this is part of the fun in watching this band. Consider this, though: as the guest says at the end, “you’re not gonna hear Rush from a lot of bands.” True that. And what a pleasure to witness such an accomplished delivery of such a song, delivered with such clarity and economy that the word ‘concise’ comes to mind as the best descriptor- no mean feat, to pull that off with such a top-tier technical track as the original art-rocker was… is.
Peter Gabriel’s “Sledgehammer” has a very sweet intro. The video misses the very beginning of the CMI faux flute bit, but a strain of it remains. This is a great example of how one guy can cover all the sonic needs at hand with just an axe and a pedal-board, some switches, and maybe a whammy-bar once in a while. None of which can properly serve their purpose without the right handling. Likewise that same Strat, with its phat/round sounds, makes the perfect compliment to the real feature in this number- the bass.
This is all very masterful stuff. It is nearly impossible to distinguish between the elements of electricity in the atmosphere. To be sure, the crowd has plenty of fans. Having touted the particular focus or theme of the material beforehand, folks were revved up from the get-go. Any performance by Tom Ingram and company will satisfy any anticipation and exceed expectations by pulling out a few surprises along with the readily recognizable content.
The charge in the air was certainly accentuated by the momentousness of the occasion, as it constituted the premiere performance in the venue’s newly-renovated music facility.
Shortstop Bar & Grill has been in constant growth mode for the entire decade that they have been open. The new Concert Hall looks to hold about three times the original room, now exclusively a banquet hall, making perfect sense in the overall layout of the building. In fact, Shortstop might be more aptly described as an entertainment complex, with no fewer than eight pinball machines, a virtual golf and gaming strip, and a couple of old-school arcade games besides.
Upon first entry, one is presented with a lobby that seems no less than a Hollywood hotel:
To the left, a classic and classy tavern-type chamber boasts a full bar and plenty of tables. The section between the entry and the main bar or tavern room can actually be rather cozy: Screens and more screens are distributed all around these areas, without being obtrusive. A row of pinball machines stands at the ready in a lounge area, plushy couches and all. Behind and beside all of these sections, golfing awaits the sporting clientele – virtually. This “driving range” extends over quite a range of space, all the way to the back of the place. Finally, another coin-operated diversion or two stands by the other wall, running laterally. Back around and to the right of the front entryway, the Banquet Hall is situated perfectly.
Now, having completed this circuit, ordered a few drinks and probably some dinner, the concert-goer goes back around between the bank of pinball machines and couches. Here we find the new “Concert Hall,” which is by no means a misnomer or exaggeration.
~~~~~~~~~~~~~~~~~
Tom Ingram Guitar & Vocals
John O’Boyle Bass
Jim Fogarty Drums
Amy Sullivan Vocals
Bob Landouer Guest Vocalist
(a.k.a. “Bobby Casino” from GenXS)
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