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GNR to headline The Governors Ball in New York: June 8, 2013


highend88

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Even if he could sing RQ well, I'm not sure it needs to be a staple. If they really want to make room for new music, RQ would need to be less of a permanent fixture and be swapped out for a new song every now and then. Same for Brownstone, maybe even ISE.

The less controversial situation would be to do less covers, though. Counting LALD in that group, too. KOHD can drag, but it's basically the only audience-participation song they've got (funny how Axl makes light of that at Rock Am Ring '06: "let's help... maintain the illusion").

Was thinking more of how setlist would need to have changed if Bucket was to stay in the band from reading that thread, you couldn't get rid of WTTJ, NR, SCOM, PC. The others could come and go.

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I definitely wouldn't advocate dropping probably the best number on Appetite.

It's a great song and the band plays it well, but Axl seems to shit the bed on it almost every time nowadays. I have not heard a Rocket Queen that sounded good since the 2010 tour.

http://www.youtube.com/watch?v=41f-pUqFoxg

This sounded good

wtf was up with that show? It's like he went back to 2010 levels for a 2-show stretch during the UCAP tour. Really bizarre.

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There is absolutely no way you can criticize RQ from such a poor recording.

:sleeper:

1080p

Soundboard

__

Both performances are as awful as the one from yesterday. By the way, go take a look at the thread from June, 6th, there are two small clips of You're Crazy, shitty quality yet good vocals.

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wtf was up with that show? It's like he went back to 2010 levels for a 2-show stretch during the UCAP tour. Really bizarre.

It was just Axl switching it on for what happened in 2002. He does that, he's bizarrely capable of reverting to that 2010 power if the situation demands it. He's choosing not to though. Clearly he's thinking about longevity so as to be able to contribute vocally in the studio and be able to tour at some point in the future.

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wtf was up with that show? It's like he went back to 2010 levels for a 2-show stretch during the UCAP tour. Really bizarre.

It was just Axl switching it on for what happened in 2002. He does that, he's bizarrely capable of reverting to that 2010 power if the situation demands it. He's choosing not to though. Clearly he's thinking about longevity so as to be able to contribute vocally in the studio and be able to tour at some point in the future.

Same goes for when he was pissed off at hellfest, paradise city was amazing.

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Got a glowing review in thh New York Times. Note- I cute off the end of the article which talks about the hip hop acts and other acts and just included the GN'R review.

http://artsbeat.blogs.nytimes.com/2013/06/09/after-the-rain-a-night-of-rock/

After the Rain, a Night of Rock By JON PARELES
Kings of Leon, who would have headlined Governors Ball on Friday before rain ended the night early, gave the event a rain date on Saturday night on Randall’s Island. The band squeezed onto the main stage just before Guns N’ Roses.

“I wouldn’t miss it for the world,” said Caleb Followill, the band’s singer and leader, after joking that Kings of Leon was back to being “just the opening band.” That made rock with guitar muscle even stronger on Saturday’s agenda at Governors Ball.

Kings of Leon, which played its sturdy, modernized Southern rock, is not flamboyant onstage. It just plays through the songs, letting the music — the grain of Mr. Followill’s voice, the breadth and drive of the riffs — carry the concert. It easily did: the unswerving beat (hinting at dance music) in “Knocked Up,” the buildup and U2-like “whoa-oh-oh” singalong of “Use Somebody,” the patient guitar meditation of “Closer,” the springy hint of ska and urgent lyrics of “Sex on Fire.” The band introduced what it said was a song it had never performed that reached back to the frenetic strumming of its early days when it was often compared to the Strokes.

In its performance, Guns N’ Roses brought the rock-star struts, rowdy fashion statements and pyrotechnics of 1980’s-vintage stadium rock. When Axl Rose first remade Guns N’ Roses as a band of sidemen rather than a group that had built its songs and career together, he ended up with sterile technicians. Now he has a band that reclaims nostalgia-enhanced memories of the band’s 1987-1991 heyday by expanding the lineup to hit even harder.

It has three guitarists — Ron (Bumblefoot) Thal, Richard Fortus and DJ Ashba — instead of two. It has two keyboardists — Dizzy Reed, the only link with the 1991 band, and Chris Pitman — instead of one. And its bassist, Tommy Stinson, and drummer, Frank Ferrer, share a wallop, sometimes underlined by fireworks onstage. The three guitarists can reach back to blues and soul, shred at top speed and play wailing hard-rock guitar-hero solos. Mr. Thal hardly lets a lead phrase go by without a pitch-bending wiggle of the whammy bar.

Guns N’ Roses did not reveal new songs. Its most recent album, “Chinese Democracy,” brought together nearly all of the current members but that came out in 2008. Yet they wrung all they could out of the older songs. Mr. Rose, whose high, electrocuted-tomcat wail gave Guns N’ Roses its edge, sounded oddly dulcet during the early part of the set. Then his yowl and screech returned.

The band filibustered the songs a bit — ”November Rain,” with Mr. Rose at the piano, got Pink Floyd and Elton John excerpts as a prelude and “Knockin’ on Heaven’s Door” had extended guitar passages — and guitarists got to show off while Mr. Rose was backstage changing jackets, T-shirts and hats. Charging through songs like “Nightrain” and “Paradise City,” Guns N’ Roses delivered 1980’s rock excess, rowdy and unrepentant.

Governors Ball on Satuday also had a hip-hop contingent that was as triumphal as Guns N’ Roses. Nas, headlining on the other large stage doubled as the wise elder and current contender. He summed up the life of the urban ghetto with songs from his 1994 album “Illmatic,” and went on to explore pleasure and politics. Kendrick Lamar traded the self-questioning of his recordings for the shouting and cheerleading of live hip-hop; the audience happily supplied words whenever he gave them a chance. Azealia Banks, dressed in a cutout fluorescent garment, rattled off high-speed rhymes that flirted, boasted and picked catfights over throbbing, skittering tracks, while concert-goers pumped their fists.

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Got a glowing review in thh New York Times. Note- I cute off the end of the article which talks about the hip hop acts and other acts and just included the GN'R review.

http://artsbeat.blogs.nytimes.com/2013/06/09/after-the-rain-a-night-of-rock/

After the Rain, a Night of Rock

By JON PARELES

Kings of Leon, who would have headlined Governors Ball on Friday before rain ended the night early, gave the event a rain date on Saturday night on Randall’s Island. The band squeezed onto the main stage just before Guns N’ Roses.

“I wouldn’t miss it for the world,” said Caleb Followill, the band’s singer and leader, after joking that Kings of Leon was back to being “just the opening band.” That made rock with guitar muscle even stronger on Saturday’s agenda at Governors Ball.

Kings of Leon, which played its sturdy, modernized Southern rock, is not flamboyant onstage. It just plays through the songs, letting the music — the grain of Mr. Followill’s voice, the breadth and drive of the riffs — carry the concert. It easily did: the unswerving beat (hinting at dance music) in “Knocked Up,” the buildup and U2-like “whoa-oh-oh” singalong of “Use Somebody,” the patient guitar meditation of “Closer,” the springy hint of ska and urgent lyrics of “Sex on Fire.” The band introduced what it said was a song it had never performed that reached back to the frenetic strumming of its early days when it was often compared to the Strokes.

In its performance, Guns N’ Roses brought the rock-star struts, rowdy fashion statements and pyrotechnics of 1980’s-vintage stadium rock. When Axl Rose first remade Guns N’ Roses as a band of sidemen rather than a group that had built its songs and career together, he ended up with sterile technicians. Now he has a band that reclaims nostalgia-enhanced memories of the band’s 1987-1991 heyday by expanding the lineup to hit even harder.

It has three guitarists — Ron (Bumblefoot) Thal, Richard Fortus and DJ Ashba — instead of two. It has two keyboardists — Dizzy Reed, the only link with the 1991 band, and Chris Pitman — instead of one. And its bassist, Tommy Stinson, and drummer, Frank Ferrer, share a wallop, sometimes underlined by fireworks onstage. The three guitarists can reach back to blues and soul, shred at top speed and play wailing hard-rock guitar-hero solos. Mr. Thal hardly lets a lead phrase go by without a pitch-bending wiggle of the whammy bar.

Guns N’ Roses did not reveal new songs. Its most recent album, “Chinese Democracy,” brought together nearly all of the current members but that came out in 2008. Yet they wrung all they could out of the older songs. Mr. Rose, whose high, electrocuted-tomcat wail gave Guns N’ Roses its edge, sounded oddly dulcet during the early part of the set. Then his yowl and screech returned.

The band filibustered the songs a bit — ”November Rain,” with Mr. Rose at the piano, got Pink Floyd and Elton John excerpts as a prelude and “Knockin’ on Heaven’s Door” had extended guitar passages — and guitarists got to show off while Mr. Rose was backstage changing jackets, T-shirts and hats. Charging through songs like “Nightrain” and “Paradise City,” Guns N’ Roses delivered 1980’s rock excess, rowdy and unrepentant.

Governors Ball on Satuday also had a hip-hop contingent that was as triumphal as Guns N’ Roses. Nas, headlining on the other large stage doubled as the wise elder and current contender. He summed up the life of the urban ghetto with songs from his 1994 album “Illmatic,” and went on to explore pleasure and politics. Kendrick Lamar traded the self-questioning of his recordings for the shouting and cheerleading of live hip-hop; the audience happily supplied words whenever he gave them a chance. Azealia Banks, dressed in a cutout fluorescent garment, rattled off high-speed rhymes that flirted, boasted and picked catfights over throbbing, skittering tracks, while concert-goers pumped their fists.

Not a bad review considering the critic is clearly not an informed fan.
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Show was good. GNR was actually 5 min early starting. Played exactly the 90 min time slot. Solo were reduced so the flow of,the show was good. No estranged but all. In all a fun show. The ground were so muddy. We had VIP and were lucky a security person let my son and I threw a blocked area so we could get to VIP w/o walking threw too much mud.

This was the sixth time I've seen gnr since 2006. Axl needs to get in better shape. Don't get me wrong he's still a good preformed but he could be better if he was in better physical shape.

Crowd was very receptive and stayed throughout.

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