BY MELISSA RUGGIERI
He hasn’t had a self-penned hit in more than two decades – aside from a brief foray into classical composition – but Billy Joel’s catalog sets a benchmark in pop history.
He could perform for hours and still someone would grouse, “But he didn’t play ‘Modern Woman’!”
Surely, some fan today is making a similar assessment of Joel’s Saturday night blowout at Philips Arena – his first solo visit to Atlanta in seven years.
But there can be zero quibbling about a career-spanning 20-plus-song set list AND a trio of Georgia-related songs thrown in because, well, this refreshed version of Joel really enjoys playing live again. And he sounds better than he has in a decade.
As he segued from the explosive opener, “Miami 2017 (Seen the Lights Go Out on Broadway)” to the still-sinewy “Pressure,” Joel took a twirl on his piano stool to survey the sold-out crowd, a small smile curling under his smoke-colored goatee.
Before his piano began its first rotation on a massive Lazy Susan-like platform – prime time for those seated behind the open-backed stage to get a glimpse – Joel acknowledged his surroundings in his gruff New York-ese and led his band through most of “Georgia on My Mind,” which his idol Ray Charles definitely would have endorsed.
Credit: Melissa Ruggieri
Credit: Melissa Ruggieri
Still content to ignore the set list a few minutes more, Joel noted that, “The last time we were here was seven years ago…and before that, we were here with the other guy.”
That led to his spot-on impersonation of piano mate Elton John and his “Your Song,” a quick reminder of Joel’s cheeky wit. A few songs later, Joel stared at the video screens on the overhead scoreboard and lamented, “I look like my dad now.”
Never a pinup, Joel at 65 is a bit grayer and plumper, but who isn’t? Close-ups of his fingers showcased a nimbleness belied by their stubby appearance; his playing, along with his voice, matters much, much more than the volume (or lack thereof) of his hair.
A couple of times during the two-hour-plus concert, Joel allowed the audience to choose between a pair of songs. It’s a tactic he’s employed for years during his performances and one that usually pitted “Vienna” against “Summer, Highland Falls.”
Joel has realized the unexpected popularity of the tinkling “Vienna” and simply added it to the set list, which gave the gorgeous “Summer, Highland Falls” the opportunity to finally win the battle (this time, “Everybody Loves You Now” got the short shrift).
“Summer” is arguably the prettiest creation from this melodic alchemist with lyrics both searing and relatable.
But, of course, it was the trove of radio hits drilled into our consciousness that sparked the crowd – “My Life,” “Allentown” and “Movin’ Out,” which was accompanied by sepia-toned video of New York walkups and bridges.
That city, Joel’s city, is as much a character in his songs as Brenda and Eddie, Mama Leone and Paul the real estate novelist. It’s also the scene of his recent rebirth, with an open-ended residency at Madison Square Garden seemingly the impetus for Joel’s return to touring.
Credit: Melissa Ruggieri
Credit: Melissa Ruggieri
He paid rightful homage with "New York State of Mind," which sounded like aural velvet and was highlighted, as always, by Mark Rivera's atmospheric sax. It's the kind of song that gets you the Gershwin Prize – as Joel received last fall – and has become as much a signature for him as the set-closing sing-along, "Piano Man."
For the Joel faithful, seeing his eight-piece band is also a comfort, like walking in on Sunday dinner in an Italian household: There’s Tommy (Byrnes, guitar) and Mark (Rivera, sax, flute, percussion) and Dave (Rosenthal, keyboards) and Andy (Cichon, bass) and Chuck (Burgi, drums) and Mike (DelGuidice, guitar) and Carl (Fischer, sax, trumpet) and the quietly stylish MVP of the crew, Crystal (Taliefero, percussion, sax, harmonica).
Most of them have accompanied Joel for decades and their easy camaraderie was apparent (watching Rivera try to make Joel laugh during “New York State of Mind” was priceless). It also meant that Joel could decide, seemingly on a whim, to unleash some James Brown (“I Feel Good”) and Allman Brothers Band (“Midnight Rider”) and these musicians would fall in at the first notes.
Joel is also a gracious boss, as he ceded the spotlight to Fischer during his blazing trumpet solo on the underappreciated “Zanzibar,” a tricky jazz-pop song that demonstrates Joel’s capabilities as a composer. Byrnes unloaded deft fretwork on “Sometimes a Fantasy” and Taliefero’s multiple talents took the spotlight for “River of Dreams.”
While Joel’s fans contend with those of Bruce Springsteen and Jimmy Buffett for a loyalty title, there are always plenty of first-timers at his shows (evidenced by the number of people sitting during an epic “Scenes From An Italian Restaurant” – blasphemy!). The appearance of Joel’s longtime roadie Chainsaw barreling through a cover of AC/DC’s “Highway to Hell” had to be a hoot for the uninitiated – not to mention Joel’s chord-strumming guitar skills.
Credit: Melissa Ruggieri
Credit: Melissa Ruggieri
By the time Joel and his team reached a much-craved encore, the hits parade was unstoppable, with “Uptown Girl” (complete with Joel’s amusing mugging), “You May Be Right” and “It’s Still Rock and Roll to Me” among the crowd-adored selections.
At this point in his career, it’s unlikely that we’ll ever hear much new material from Joel. And that’s OK. With the creative output he’s provided since 1973, why not coast on that legacy?
But if he’s been rejuvenated to the point of playing a handful of concerts a month until he’s blown the harmonica during “Piano Man” for the 12 millionth time, then play on, sir. Play on.
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