Billy Joel at Msg Review June 2 2019

NEW YORK – Billy Joel didn't mess much with his usual set list.

He actually didn't even acknowledge the 20-month pandemic-fueled delay of his monthly Madison Square Garden residency other than a hearty, "Good evening, New York! We're dorsum at The Garden!"

But the spirit that makes these New York shows a bit more than special and the songs resonate a tinge deeper was exemplified in the lid perched on Joel'southward black infant grand. Battered and scarred, the No. 2 Lieutenant fire fighter's helmet found on nine/11 that belonged to New York Metropolis fire fighter Neil Skow made an encore advent. The piece of history initially sat atop Joel's piano for "The Concert for New York City" during that October 2001 issue.

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"I just thought we should have it here tonight," Joel said, equally he glided into the opening chords of, appropriately, "New York Country of Heed."

Since late summer, Joel, 72, has returned to the stage for a handful of stadium shows. Only the sold-out Friday revival of his monthly residency at Madison Foursquare Garden – which started in 2014 with no end date apparent – marked the return of ane of the nearly unique arrangements in live music.

For nigh 2 ½ hours, Joel and his ring of aces – highlighted by long timers Marking Rivera on saxophone, Crystal Taliefero on percussion and Tommy Byrnes on lead guitar – rolled through a 25-song fix list that launched with a popular of xanthous lighting and the piano tinklings of "Miami 2017 (Seen the Lights Go Out on Broadway)" and ended with the rollicking defiance that powers "You May Be Right."

In between, a noticeably slimmed-down Joel, clad in his usual uniform of black accommodate and necktie, hopscotched through l years of hits, album cuts and an unlikely viral entry on TikTok. Playing on his traditional open up-backed phase, Joel stayed seated throughout almost of the concert every bit his piano slowly rotated every few songs to ensure facetime with fans on all sides.

He integrated a snippet of "Ode to Joy" at the start of "Movin' Out," delivered sneering lyrics with the coiled keyboards of "Pressure" and audibly strolled through the contemplative report of crumbling known as "Vienna."

Though some songs have been modified in key to accommodate Joel'south current range, he sounded robust on the underappreciated rocker "Sometimes a Fantasy" – a song nearly lust muffled by its perky bounciness – and melodious on the wry ballad, "She's Always a Adult female."

Joel joked at the end of the song that he notwithstanding doesn't understand his ain lyric, "'She tin't be bedevilled, she's earned her caste.' What the hell was I talking well-nigh?" he asked rhetorically earlier shrugging and shooting ane of many smiles and playful faces at his ring.

Much as been made recently of the resurgence of Joel's name in the zeitgeist – youthful stars Olivia Rodrigo and BTS have referenced him in song or influence – and "Zanzibar," a jazz-rock-fusion track from 1978's "52nd Street" anthology has been the backdrop of a TikTok dance craze. With its searing trumpet solo (kudos to Carl Fischer for his mighty efforts) and tricky fourth dimension changes, the song, while not the most obvious viral hit, notwithstanding captivates.

Those younger fans who discovered Joel through parental influence or pop culture dotted the crowd at The Garden, singing along fervently with 1974'due south "The Entertainer," Joel'due south brilliantly cynical look at showbiz artifice, and the percussion-laden title track of his last pop album, 1993'due south "River of Dreams" alike.

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Just while fans gratefully absorbed Joel'south music all nighttime, when he strapped on a harmonica neck holder – the obvious indication that his theme vocal, "Piano Homo," would soon emanate from the stage – the enormity of the occasion landed.

As Joel seesawed the waltzing cadence on his piano, fans swayed along to the chorus like happy, inebriated sailors in a bar, the entire arena experiencing a communal concert moment so deeply missed.

Well-nigh 30 more minutes of music followed "Piano Man" – a bright "Uptown Daughter," a hip-swiveling "Information technology's Nevertheless Rock and Coil to Me" and a punchy "Big Shot" among the offerings – but it was during that signature song that a certain realization struck.

We now know not to take these Joel shows for granted. Nosotros now know that "I'll come across him next fourth dimension" isn't an automated possibility. Nosotros now know that, with apologies to Seals & Crofts, we may never pass this mode once again. Don't let the opportunity lapse.

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Source: https://www.usatoday.com/story/entertainment/music/2021/11/06/billy-joel-concert-review-return-madison-square-garden-residency-hits-new-york/6313549001/