SOURCE: http://www.courierpress.com/ecp/entertainment/article/0,1626,ECP_738_2922486,00.html

Courier Press 05-29-04

Evansville, IN 05-27-04 show review 

Philip Elliot, staff writer

Kid Rock, Puddle of Mudd rocked on old and new

May 29, 2004

Thursday's audience at Roberts Stadium longed for the old - the early albums, the classic rock stylings, even the late-model cars. Kid Rock and Puddle of Mudd gave the audience what they wanted and a bit of what they needed. You've got to respect a band that says it will start at 7:30 p.m. and then keeps its word. Puddle of Mudd drummer Greg Upchurch last week said the start would be punctual, and it was. The band's show was as disciplined as its arrival. Members started the show with 2001's "Control," a ballad that weaves sadomasochistic lyrics with a catchy rock track. Who knew "I like it when you chain me to the bed" made it to mainstream radio, let alone get moms singing along?

The group followed it with another track from their 2001 "Come Clean." With unbridled hatred, the group brought "Bring Me Down" to Evansville, reminding the audience, "Karma comes around two times." It might not have been karma, but Puddle of Mudd mastered its craft Thursday night. Effortlessly shifting between the open rock to almost demure interludes, the band showed why its first album boasted four No. 1 tracks. After a stop at "Drift and Die," the band moved to new material, "Freak of the World," again capturing the rage and disappointment fans love. But a stumble occurred on "Spin You Around" that brought images of Hanson and one-album wonderhood. With falsetto pop vocals, it almost was a disaster. But Puddle of Mudd quickly recovered and added rough guitar under the still-annoying vocals. The song, from the band's 2003 release, again is reminiscent of the risky sophomore album. "Spin you around, spin you around, turn your world upside down" aren't raucous - let alone literate - lyrics, no matter how caustic the chords. Puddle of Mudd again tried too hard with "Think," a carefully timed song with deliberate pace. But it isn't the old stuff. The song about love sounded oddly like a serenade to "Loaf." Lead singer Wes Scantlin recognized this, urging the audience out of its seats for "Away From Me," but the best the audience could muster was a sway and a nod. Wisely, Puddle of Mudd closed its set with its ultimate rage song, "She Hates Me." After Scantlin opened the song with the acoustic hook, the audience would not wait. It jumped in, starting the verse. When Scalin regrouped and joined for the second part of the verse, he knew he had the audience. The Puddle of Mudd opening, clocking in at 45 minutes, showcased the band's best work and introduced the audience to the new material. It certainly isn't a one-hit wonder, but the members of Puddle of Mudd should recognize their loyal fans loved 2001's "Come Clean" and aren't as fond of the 2003 pop-driven album. If they wanted that, they'd go to Creed.

After the break, Kid Rock roared onto stage with a self-satisfaction that would shame most rock stars. But not Kid Rock. For the next 90 minutes, the stadium was his domain. And here, he was master. With fireworks, flame-throwers, confetti, strippers and flags from both the United States and the Confederacy, the show surpassed expectations and filled every nook and cranny of the stadium with sound. Kid Rock teased his audience throughout with snippets of "Bawitdaba," his convoluted opus to street life. From the opening chords to the final salvo of confetti, the performance was laced with the themes from that song. Yet, in an odd combination, Kid Rock used vintage disco track to welcome the audience to the party while reminding everyone he was going platinum. He offered a blend of his career, reaching back more than a decade. The crowd enjoyed the earlier material, but the mainstays were the radio singles that established Kid Rock as an icon of white trash, redneck hillbillies. This from Detroit's son. The whole show was paced by Kid Rock's ego. Kid Rock swaggered - nay, skipped - across the stage, jumping onto speakers. I think, deep down, Kid Rock was trying to be Justin Timberlake. Instead, the best he could muster was Mick Jagger. It was that ego that kept the show entertaining. But the ego also inched close to danger. The biggest threat to derail this "Rock and Roll Pain Train" tour was not the flame-throwers or fireworks. Instead, a disco ball and vocoder almost transformed the performance into a Madonna concert. Kid Rock borrowed liberally from his influences, coping a "Freebird" reference, some Hendrix, a bit of Queen and even some Eminem. (The two Detroit sons collaborated on 1998's "(Expletive) Off!") Kid Rock's songs blended together in a thematic cycle more than individual songs. Invocations of ZZ Topp, Southern Comfort and Dixie were all knitted into the show. They made their way into "Hillbilly Stomp" and "Jackson, Mississippi" alike, two ends of the musical spectrum linked by Kid Rock's musical prowess. Extensive instrumental solos allowed Kid Rock to borrow instruments from his Twisted Brown Trucker Band. With some skill, he negotiated a rather impressive keyboard solo. He should have stopped there before commanding a white baby grand piano. He used that more deftly as a platform than as an instrument. Kid Rock's show was entertainment at its purist - escapism. There is something wonderful and frightening about Kid Rock's cover of "Feel Like Making Love" that makes the blend of black T-shirts and tube tops and Abercombie logo tees and pink golf shirts seem natural. (Yes, the pink golf shirt was on a dude.) These are people who might not even like Kid Rock's music. It is, after all, hard to pin down. A blend of country, rock, rap, blues and - gasp! - easy listening. Instead, the crowd of 7,541 loved his image just as strongly. He might be the "Devil Without a Cause," but Kid Rock has one savvy marketing strategy.