Playlist

If I only had more room in my full review of the Al Jarreau concert Saturday night at the Eisemann Center in Richardson. Then I could mention every song he performed that filled my ears with his signature brand of joyful noise. But right here, in my addendum to the full review, I'll wax about a few other tunes.

Easy - A breezy jazz-pop number with a flowing vibe. A flute added to the wistful feel. But it was all about Jarreau's soaring vocals.

Sweet Potato Pie - Give him a shaker and he gets into jazz-funk mode. But really, this is the human beat box we're talking about. The shaker wasn't necessary.

After All - What a sweet pop ballad. The audience sang along with him. "After all, I will be the one to hold you in my arms...."

Take Five - Jarreau never fails to honor Dave Brubeck with this totally jazz tour-de-force. Piano and saxophone only made it better.

Ok, for a full review of the Al Jarreau concert, go to www.dallasnews.com/entertainment.

Photo: Al Jarreau gets his boogie down Saturday night at the Eisemann Center in Richardson (Mona Reeder/DMN).

Mexican-American Jenni Rivera, considered the grand dame of banda and norteño music, will headline the NFL Pepsi Musica Super Bowl Fiesta Feb. 4 at Verizon Theatre in Grand Prairie. Also performing during the evening of Latin music are Miami reggaeton duo Chino y Nacho and singer Dulce Maria, formerly of the Latin teen pop band RBD.

The music starts at 7:30 p.m. Tickets are $45 through Ticketmaster. Doors open at 6 p.m. Celebrity hosts and guest appearances by NFL players are to-be-named. Also, Univision is set to broadcast part of the Friday show live.

Photo: The always larger-than-life Jenni Rivera (AGENCIA REFORMA).

Dallas' neo soul diva Erykah Badu will perform a full concert prior to Prince's headlining show Feb. 4 at theEvent benefitting the Goss-Michael Foundation. The evening of music and culture, taking place during Super Bowl weekend, features food, guest DJs, a silent auction, and other special guests.

Tickets, which start at $1500 per person, include general admission, open bar and food stations. They go on sale Saturday, Jan. 8, at noon at www.princedallas.com. The soiree begins at 8 p.m. at theEvent Tent Complex, a climate-controlled performance tent at the former Reunion Arena site.

Photo: Badu beguiling on stage at the Verizon Theatre in Grand Prairie last June (John F. Rhodes/DMN).

The list of Super Bowl concerts continues to grow. At 8 p.m. on Feb. 4, Prince will be playing at theEvent Tent Complex at the site formerly known as Reunion Arena.

It'll cost you, though. Single tickets require a $1500 contribution, which includes general admission, open bar and food stations. Proceeds go to The Goss-Michael Foundation.

More information at theEventDallas Twitter account.

Super Bowl fans are also music fans. And the Pepsi Super Bowl Fan Jam Concert Series has a little bit for everybody on opening night. Kid Rock headlines the kick-off show Thursday, Feb. 3, with help from supporting acts Duran Duran and Jason Derulo at Verizon Theatre in Grand Prairie. The concert officially ushers in Super Bowl weekend in North Texas. Tickets for the Feb. 3 gig are $45 and $60 through Ticketmaster.

The series continues Friday, Feb. 4 with the NFL Pepsi Musica Super Bowl Fiesta, a Latin music-themed night. Performers for that event will be announced soon. Tickets are $45 through Ticketmaster.

Both nights include to-be-named celebrity hosts and guest appearances by NFL players. Thursday's show starts at 7 p.m., while Friday's concert begins at 7:30 p.m. Doors open at 6 p.m. each night. Also, VH1 is set to broadcast part of the Thursday show live.

Photo: Kid Rock performs a halftime show during a game between the New England Patriots and the Detroit Lions on November 25 at Ford Field in Detroit, Michigan (Photo by Gregory Shamus/Getty Images).

The Metal God, that would be Rob Halford, brought his namesake group to House of Blues Monday night to perform 90 minutes of classic heavy metal music for a boisterous, adoring crowd. This is not a full review of the concert, just a few extra thoughts on four not-so-obvious tunes Halford pulled out onstage.

Nailed to the Gun - The one Fight track that Halford performed. Propulsive, and it put the audience in metal heaven. It's from the 1993 Fight album, War of Words.

Drop Out - An encore tune, perhaps not as well-known, taken from Halford's 2006/2007 Metal God Essentials, Vol. 1.

Heart of a Lion - Roaring, of course. The song is from Judas Priest's Turbo sessions (1986) but was not released until the 2004 5-CD compilation, Metalogy.

A Christmas song with an unprintable name - It was Halford's one deviation from the set list. Totally irreverent and hilarious. I'm not sure if he's ever recorded it.

For a full review of the Halford concert, go to www.dallasnews.com/entertainment.

Photo:The Metal God in full worship Monday night at House of Blues (Jason Janik/Special to DMN).

Chayanne loves the rhythm, the percussion, the revved up syncopation of Latin dance music. So at his Verizon Theatre concert Friday night before a nearly full house, the Puerto Rican singer, dancer, actor and all-around showman delivered plenty of tunes for athletic, choreographed moves.

This isn't a full review of the Chayanne gig. It's just a few added thoughts I have about the up-tempo half of his live repertoire.

Provocame - He opened with it. Still such a Latin pop blast of fun.

Caprichosa - If this one doesn't get your pulse racing, you must be asleep.

Tu Boca - From the new No Hay Imposibles CD. Simply said, it was a Latin party.

Baila Baila - Big congas, and enough energy to launch a rocket.

Salome - Love this song! It pulsates, makes your hips gyrate from side to side. Come on now, you can do it.

Ok, for my full review of Chayanne's concert, go to www.dallasnews.com/entertainment.

Photo: Chayanne works the Verizon stage Friday night (Jason Janik/Special to DMN).

Fantasia is destined for bigger and better things. One look at her kinetic stage show should tell you that. Even better, she'll "sang" that to you.

More than five costume changes later, the crowd was still standing, sometimes finishing her lines for her. To which she said, "Y'all stole my part." It's no wonder she won American Idol over the bland Diana DeGarmo; the game crowd at Verizon Theatre at Grand Prairie on Thursday night seemed to reach into every demographic pool. With all the cellphone activity, one could imagine each of them still trying to punch in their votes.

A cover of "Kiss" unexpectedly freshened the Prince hit. Her cover of "Come Together," well, it rocked. The immediate assumption is to think that Idol and her turn on Broadway in The Color Purple taught her to transcend genre; upon further reflection, her voice -- at times teasing, winking, with a laugh thrown here and a sneer thrown there -- showed that it was all her.

Her songs took center stage, though. When "Free Yourself," her hit from her first album, was the second song out of the gate, fans had to know that this just wouldn't be an ordinary show.

Everyone in the house should have known that anyway, just after looking at the bill. The lineup included Kandi (Burruss, of Real Housewives of Atlanta, formerly of XScape and with several songwriter awards under her belt); a thankful, splendid and relaxed and Grammy-nominated El DeBarge on the comeback trail; and stage-stealing Eric Benet. They all had upcoming or just-in-stores CD to plug, which leant an urgency to the proceedings.

More on all of them, including more on Fantasia, later: Come back to read the full review of Thursday night's show at dallasnews.com/music.

(Photo by Sonya N. Hebert/Staff photographer)

Were you among the sold-out crowd at the Usher concert Wednesday night at American Airlines Center? I was. This isn't my full concert review, just a few extra random thoughts for added reading.

Nice And Slow - Decked out in white, including a sweaty tank top, he humped the stage floor, then did a little hip grinding. This is all just in case we're not sure what the song's about. Oh, and he also told us he was gonna sow his wild oats in Dallas. As if he hasn't already.

There Goes My Baby - Crowd sing-along time during this hooky ballad. The platform was all billowy smoke.

Mars Vs. Venus - This one included a video of Usher as a slick futuristic scientist building a woman. Dream on, right! Anyway, his dancers were all in spacey metallic costumes.

Yeah! - The crowd went ape. All his dancers were onstage working the choreography. The beats were loud and the excitement was palpable.

So what did you think of Usher in Dallas? For my full Usher concert review, go to www.dallasnews.com/entertainment.

Photo: Usher moves and grooves Wednesday night at American Airlines Center (Nathan Hunsinger/DMN).

The multi-media spectacle that was Rogers Waters' The Wall Live concert Sunday night before a sold-out crowd at American Airlines Center had plenty of inflatable guests. Those would be characters from the 1979 conceptual masterpiece by Pink Floyd, The Wall. Waters masterminded the 26-song double-album.

The school master - His grotesque head was as big as his legs were long. His eyes were piercing mini-wheels with lighted centers. He carried a pointy stick. His appearance enhanced "Another Brick In the Wall, Part 2."

Mother - Whew! No warm fuzzies here. She was a towering, scowling figure with heaving bosoms and crossed arms. She'd scare any kid into cleaning his room and eating his brussel sprouts. She appeared during "Mother," naturally.

The woman-fish - Part female and part squid, at least that's what it looked like. A squiggly neon tube was its mouth. The arms were claws. Weird. She, or it, arrived during "Don't Leave Me Now."

The flying pig - Black, not pink. With many slogans and symbols painted on its body. It floated over the crowd. Pretty cool! We saw it after "The Show Must Go On" and during "In the Flesh" and "Run Like Hell."

For a full review of Roger Waters' The Wall Live concert, go to www.dallasnews.com/entertainment.

Photo: Waters and his multi-media spectacle (Rex C. Curry/Special to DMN).

Lyle Lovett and His Large Band have made a decade-long tradition of appearing at Bass Hall in Fort Worth for a couple of nights every fall. We should be so lucky that they'll continue that for at least another 10 or 20 years.

Despite the Saturday-night show by Elton John and Leon Russell just down the street at the Convention Center Arena, both Saturday and Sunday's Lovett shows nearly sold out. Lovett repaid the tribute on Sunday with a two-hour-plus show of two dozen songs, starting with the modern-cowboy ballad "Natural Forces" and ending with the gospel-tinged "Church" and "Ain't No More Cane" (with Lyle, his quartet of back-up singers and several other band members on vocals, that number could have put any professional men's choir to shame). It was chills time for everyone in the audience, and you could have heard the proverbial pin drop when the music stopped. Sometimes that two- or three-second silence, signifying "We're just stunned," is so much more powerful than an immediate standing ovation.

In between, Lyle displayed his dry, wry sense of humor, inserting a line about the Cowboys' win into one song, and, when a fan kiddingly shouted "Freebird!" he told a hilarious story about how that rock classic was the Klein High School 1975 class song. "They rejected our first choice, '30 Days in the Hole,' by Humble Pie," he joked. Or maybe not.

Anyway, the one constant with every Lovett concert is the absolutely superb musicianship, and the way he lovingly spotlights his band and singers (who were called upon this time to stand in as both chickens, on "Choke That Chicken," and thunder, on "I Will Rise Up"). The gloriously creepy solo cello rift by John Hagen on "You Can't Resist It" was worth the price of admission all by itself. As usual, Lovett ran the gamut of American genres -- country, soul, jazz, rock and swing were covered, as well as the Texas song-writing triumverate of trains, horses and women who break your heart.

The only way Lyle could break ours if he he quits recording and touring. Other than that, we're good.

PHOTO by Ralph Barrera/AMERICAN-STATESMAN: Lyle Lovett plays Austin City Limits Monday on Nov. 8.

This is the best thing Ryan Seacrest has ever done: he confirmed on his radio show this morning that boy band legends New Kids on the Block and Backstreet Boys will unite for a tour in summer 2011.

The tour, cleverly titled NKOTBSB, has been rumored ever since BSB's surprise appearance during the NKOTB concert in June. To whet fans' appetities for the tour, the two bands will perform together at the American Music Awards, airing Nov. 21 on ABC.

This is such a shrewd business move. In an era where big name tours are struggling to sell tickets and barely filling up their arenas, having two boy bands with massive followings tour together seems like a sure thing. And while there's some crossover between the fan bases, it will also bring in two generations of boy band fanatics. Even though I was an 'N SYNC follower in my youth, I won't be missing out on this sure-to-be-awesome show.

What about you? Share your thoughts (or favorite boy band songs) in the comments section.

In the meantime... here's some tunes to get you through the day. And score some desktop wallpapers and Twitter icons at the tour's official site.

Here are a few thoughts about specific songs Sarah McLachlan performed Monday night during her intimate concert at Verizon Theatre in Grand Prairie.

"The Path of Thorns" - The cut from Solace, a CD she doesn't visit in concert much anymore, found her on acoustic guitar. She gave it grace and power.
"Good Enough" - Ah, a Fumbling Towards Ecstasy number. Again, she was on acoustic guitar. The crowd loved it.
"Adia" - A trip to Surfacing. Full band treatment made it more up-tempo than the recorded version. Very nice. Her voice was supple and strong.
"Awakenings" - From the new Laws of Illusion CD, also very beat-heavy with airy synthesizer flourishes. McLachlan held a killer note on this one. She got a standing ovation.
"Rivers of Love" - Again, Laws of Illusion. Evocative and ethereal. Another full band treatment.

For a complete review of the Sarah McLachlan concert, go to www.dallasnews.com/entertainment.

Photo: McLachlan during a performance last month at the Women's Conference in Long Beach, Calif. (AP Photo/Matt Sayles)

For about 70 minutes on Thursday night, Wes Miles and his five Ra Ra Riot pals performed tunes from 2008's The Rhumb Line and 2010's The Orchard for 700 fans at Granada Theater. The sound was infectious and eclectic, blending '80s new wave, chamber music and modern-day indie pop.

Miles, who exuded nerdy charm and cool flair, provided the bridge for the dramatic tension created by cellist Alexandra Lawn and violinist Rebecca Zeller and the energetic rhythms of bassist Mathieu Santos, guitarist Milo Bonacci and drummer Gabriel Duquette. The exuberant numbers included "Oh, La," "Do You Remember" and "Boy."

Then again, the most evocative tune proved to be "Massachusetts," which arrived during the two-song encore. Three voices - Miles, Lawn and Santos - created a chant-like chorus that gave the cut's upbeat kick extra texture. It was almost haunting, even.

Opening acts for the night were: Ireland's Villagers and Louisiana's Givers.

For a full review of Ra Ra Riot, go to www.dallasnews.com/entertainment.

Photo: Ra Ra Riot in a shot from 2009 (Doran Gild).

The Red Bull Sound Clash is billed as a "live music conversation." Brooklyn-based rapper Talib Kweli and Los Angeles band Ozomatli talk in this year's edition, at the Palladium Ballroom. (Last year's version starred Dallasite Erykah Badu and DJ collective the Cannabinoids against Oklahoma's Shiny Toy Guns at Victory Park as part of Texas-OU festivities.)

Kweli, who reached his stardom in a collaboration with now actor-rapper Mos Def called Black Star ("Brown Skin Lady"), is a lyricist, first and foremost. He's a hip-hop poet of sorts; his words can stand alone and stand up to anything. This time, he'll have to do some fast talking as 10-piece band Ozomatli is fluent in all sorts of musical language. Their influences yield a transcendent mix of hip-hop, rock, salsa, dancehall and funk with whispers of New Orleans, Jamaica and India.

At the end of this battle of the bands, the audience will always be the winner. 10 p.m. Thursday at the Palladium Ballroom, 1135 S. Lamar, Dallas. Doors open at 8. 18 and older. $14.23. Ticketmaster.

(File photo of Talib Kweli)

He is the greatest living ranchera singer. At 70, he can still sell-out arenas, as he did Sunday night at American Airlines Center. He is like Elvis, making women cry, inciting sheer adoration, loyalty and respect. His voice is a marvel - still strong and robust. But his stamina is the most amazing. He still delivers three-hour performances.

We're talking about Mexico's Vicente Fernández, of course. Backed by the 12-men Mariachi Azteca, Fernández traced the highlights of his 50-year career, including three cuts from his new CD, El Hombre Que Mas Te Amó. The stage included three risers, video screens and a gate with a VF emblem. It looked like a hacienda plaza.

He brought with him opening act Paquita La Del Barrio, a fellow ranchera vocalist who's been his special guest before. But it was all about Fernández. The crowd kept chanting "Chente!" They sang all his songs. He would hold the microphone in front of him and that was their cue. Not that they needed any encouragement. Fernández is an international treasure. He is their idol, their connection to Mexico's rich history.

For a full review of Vicente Fernández, go to www.dallasnews.com/entertainment.

Photo: Fernández walks through his kingdom (Brendan Sullivan/DMN).

On a rainy-turned-chilly Saturday night, 5,500 fans braved the weather for Gary Allan at Superpages.com Center. He came armed with a seven-piece band and opening acts Jerrod Niemann, Randy Houser and Texas' Randy Rogers Band.

Allan performed for 100 minutes, giving us something from all of his albums, including three tunes from the current Get Off On the Pain. One of those was "Kiss Me When I'm Down," a cool country-rocker that the crowd sang as if it was a longtime hit. Other standouts were "Smoke Rings In the Dark," of course, "She's So California" and the mournful ballad "Best I Ever Had." Niemann and Houser joined Allan during the encore for a rowdy rendition of Georgia Satellites' "Keep Your Hands to Yourself."

Rogers and his five band mates spent 45 minutes on the platform right before Allan. They got plenty of warm Lone Star love for cuts such as "Interstate" "Kiss Me In the Dark" and "This Time Around." RRB drummer Les Lawless' bass drum sported a replica of the candlelit tree from the cover of the group's new Burning the Day disc. That was a nifty little visual.

For a full review, go to www.dallasnews.com/entertainment.

Photo: Allan in a relaxed pose (Tony Baker).

Here are the facts:

Maroon 5 drew 9,612 fans to Superpages.com Center Thursday night during the band's headlining set. Opening the show were Australian newcomer, singer-songwriter Ry Cuming, and Colorado pop band OneRepublic. Frontman Adam Levine and his five band mates (they toured with an extra keyboardist) performed for 90 minutes.

Now, a couple of thoughts:

Levine and company are super-tight onstage, dishing out their well-crafted blend of pop, dance, rock and R&B with exciting passion. Highlights included "Stutter," a should-be single from the new Hands All Over CD, and of course "This Love," which will forever be Maroon 5's anthem.

OneRepublic, fronted by Ryan Tedder, were loud. That isn't a knock, but wow. Anyway, they employed a cello and a violin in addition to the usual drums, guitar, bass and keyboards. Cool covers were Ben E. King's "Stand By Me" and Justin Timberlake's "Sexy Back." Tedder, who stepped out in the crowd and sang a bit atop a chair in the audience, was personable, talkative and energetic. He could barely contain himself during "Apologize," "All the Right Moves," "Marching On" and "Waking Up."

For a full review of Maroon 5's concert, go to www.dallasnews.com/entertainment.

Photo: Levine works it! (Jason Janik/Special to DMN).

Leela James wanted a witness. She got 300. That was the passionate crowd Sunday night at the Granada Theater experiencing the R&B singer's powder-keg performance. James and her seven-piece band tore it up for 90 minutes of old-school soul from her three albums, 2005's A Change Is Gonna Come, 2009's Let's Do It Again and this year's My Soul.

Diminutive yet dynamic, James was immediately on fire after local soul men Geno Young and Deonis warmed up the stage for her. This is a woman who feels every word. Her body and her Afro-frizzed hair moved to the beat. When she pounced, her hair shook. When she hollered, her coif electrified. She was an earthy diva in funk mode.

Watching James reminded me of the explosive R&B women that came before her, namely Patti LaBelle and Chaka Khan. James is refreshingly comfortable on and off the platform. During "My Joy," her tour-de-force, she walked into the crowd. She hugged people, all the while talking about relationships and its emotional effects.

Indie rock keeps mingling with the mainstream. So far this year, Vampire Weekend scored a No. 1 CD on the Billboard charts and played two well-attended Dallas shows. Canada's Arcade Fire also landed a chart-topping disc and is approaching arena status. And the National released its breakthrough album, High Violet, which hit No. 3 upon its debut.

That fervor was palpable in the sold-out crowd Saturday night at House of Blues when lead singer Matt Berninger and his National band buddies took the stage for 100 minutes of arresting moodiness.

Berninger is a beguiling frontman. There's his wardrobe - black slacks, button-down shirt and black jacket. He looked like he just left the office. Then his voice - a deep, disaffected yet resonant baritone that frequently reminded me of Church vocalist Steve Kilbey. And his stage presence - brooding, prone to spastic outbursts and screeching hollering.

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Props to Carrie Underwood: She pulled off something I've never seen before at a concert, country or otherwise. About two-thirds of the way through her 21-song set Saturday night at American Airlines Center, she rode out over the audience perched in the bed of a bright blue pickup truck. Yes, a flying truck. And, somehow, despite the inherent silliness of the whole idea, it worked. Such is the power of the Underwood charm. (For our full review, check back here late Sunday or early Monday.)

It appeared to be a nearly sold-out arena, and the crowd heaped piles and piles and piles of adoration on Carrie, as well as her opening acts, Sons of Sylvia and Billy Currington. Sons of Sylvia is a great country band, but not so great a heavy rock band. The trio of brothers veered all over the place, stylistically; they need to settle into an identity soon. No problem with a little rock-pop with your country, of course, but they were at times going deep into near-punk territory. The AAC crowd, flush with teensy girls (many perched atop Daddy's shoulders) and retirees, did not seem to dig the heavy-rock moments. Billy Currington, on the other hand, has Toby Keith-stardom potential, but without the bombastic ego that Keith throws at the crowd.

As for Underwood, her stage presence has improved exponentially over previous appearances. She still seems uncomfortable with instruments (she played electric guitar on one song, acoustic on another, and piano on a third). She should probably just stick to the vocals. But she's gotten much better at crowd interaction and easing into the moods of various songs.

Highlights of the show included the rowdy "Last Name" and "Before He Cheats," and ballads "Jesus Take the Wheel" and "So Small." She sounded unfortunately nasally during the first part of the show, at times skirting dangerously close to Minnie Mouse territory. But she seemed to relax into it -- or else her sinus medication kicked in -- about halfway through, and the vocals soared. She hits every note, nasally or not, and with her obvious focus on working the charisma, she's proving why she's thus far been by far the most successful of the American Idol winners and runners-up who are dominating pop and country charts and and the touring season.

PHOTO by BEN TORRES/Special Contributor

Sugarland -- singer Jennifer Nettles and instrumentalist-singer Kristian Bush -- put on an energetic, rocking show Friday night at Superpages.com Center. For our full review, come back here later today or early Sunday. Suffice it to say that Jenn did her usual "human ball in a pinball machine" bouncing about and mugging, and Kristian did his usual straight-man-to-the-crazy-girl gig. All the hits came out, including the infectiously silly "Stuck on You" from the new CD The Incredible Machine, which comes out on Oct. 19.

But let's talk here about Little Big Town, one of two opening acts. (The first, Randy Montana, has mad guitar chops and a good singing voice, but he inexplicably wasted one song from his 30-minute set on a Don Henley cover. Hello, Randy? If you've only got half an hour, sing your songs.) LBT sang 10 songs, cruising with their signature glorious harmonies through "Boondocks," "Bones," "Bring It On Home" and others, including "The Reason Why" and "Little White Church" from the recently released CD The Reason Why.

PHOTO: Little Big Town

Liza Minnelli knows how to wring drama out of a nondescript director's chair. Recovering from knee replacement surgery, the 64-year-old Minnelli needed to sit down a few times during her Friday night concert at the Meyerson Symphony Center.

But that didn't stop the singer-actress from turning the high seat into a performance enhancing prop. As she enunciated the lyrics to "He's Funny That Way," Minnelli brought the standard to a big finish by tilting her head back, crossing one leg diagonally over the other and dropping an arm for supreme effect.

The nearly sold-out, well-dressed adult crowd roared its approval. Minnelli then got up, belted "Cabaret," the old-school show biz anthem that helped her win an Oscar, and enjoyed the first of three standing ovations.

Shakira as a belly dancing instructor? She tried Friday night, calling up six excitable women from the crowd of more than 15,000 at American Airlines Center. Perched on the circular end of a spoon-shaped catwalk, the Colombian superstar demonstrated hip moves, then prompted them to jump.

That scene came rapid fire, which was the ambiance of Shakira's two-hour show featuring her 8-piece band and two female dancers. It's a wonder she isn't breathless. She makes it work. Shakira's effervescent personality matches her voracious appetite for music and movement.

And drama. For the young audience of bilingual and bi-cultural fans - some couples, some singles, even a few children - Shakira turned up the drama, delivering a startlingly enveloping cover of Metallica's "Nothing Else Matters" that morphed into her own "Despedida" and finally a percussion instrumental as the soundtrack for an intense belly dancing interlude.

B.o.B. will be the headliner at this year's UTA Fall Concert. The concert, hosted by UTA Student Affairs, University Events and EXCEL Campus Activities will be held Oct. 18 in Texas Hall. There will be approximately 2,600 tickets available.

B.o.B is behind two of this summer's hottest songs, "Nothin' On You" featuring Bruno Mars and "Airplanes" featuring Hayley Williams of Paramore.

Previous Fall Concert headliners include Maroon 5, Lupe Fiasco and Ludacris. Read more at The Shorthorn.

Progressive rock and progressive metal thrive. Commercially and critically acclaimed bands such as Tool, Porcupine Tree, Dream Theater, Muse and the Mars Volta keep creative oxygen flowing.

In the hyper pop-dance era of Lady Gaga and Katy Perry, iconic, influential progressive rock outfit Rush still commands arenas. Geddy Lee, Alex Lifeson and Neil Peart, all in their late 50s, transcend trends. These Canadians remain relevant with an engulfing, musically precise brand of progressive rock that draws the diehards and the curious.

Rush's Time Machine Tour stopped Sunday night at Superpages.com Center for a three-hour show attracting 11,445 passionate fans old, young and in-between. This trek, which began June 29 and ends Oct. 17, featured the trio playing every note of 1981's seminal Moving Pictures album.

GRAND PRAIRIE - Package tours usually reveal one outstanding performer. Even with the star wattage of several well-known artists, inevitably a true main attraction emerges.

At Friday night's Men of Soul show, that was Peabo Bryson. He left his fellow R&B crooners Howard Hewett, Freddie Jackson and Jeffrey Osborne looking like opening acts at Verizon Theatre. This was significant since Bryson did not close the three-hour concert. It was Osborne who sang last.

Bryson was a marvel to watch - and hear. His voice is richer, more robustly emotional than during his '70s and '80s heyday. For 45 minutes, Bryson polished soulful diamonds such as "I'm So Into You," "Can You Stop the Rain" and covers of "Show and Tell" (Al Wilson) and "Ain't Nobody" (Rufus & Chaka Khan). He thankfully ignored the syrupy Disney pop hits.

Tom Petty lifted his arms, guitar draped over his torso, and did a quick hip-shaking dance. He then laughed. Later he vamped with the most free-spirited look on his face.

My concert buddy Robb Peterson turned to me and said: "He's quite a showman. I didn't see that coming since he's so laid-back."

Petty and his stellar band, the Heartbreakers, commanded the Superpages.com Center Tuesday night for 100 minutes of classic rock songs old and new. Eight video screens flanked the stage and a series of light strips hung from the ceiling. When all were illuminated and the screens projected the players, the montage was engulfing. The audience of 15,000 loved every colorful image.

FRISCO - The demon onstage was Gene Simmons, the blood-spewing, tongue-wagging bassist for iconic classic rock band KISS. Simmons and fellow KISS mates Paul Stanley (the Starchild), Eric Singer (the Catman) and Tommy Thayer (Space Ace) headlined Saturday's Rock'N the Park at Pizza Hut Park.

The day-long festival attracted more than 12,000 fans and featured performances by two Dallas hard rock groups, Drowning Pool and Revengeance, Fort Worth's Pat Green, Daughtry, The Envy and The Academy Is.

Simmons had some competition from another demon, this one with a bleacher seat. Chris Hardt, 26, of Fort Worth, was decked out in demon regalia - full make-up, 7-inch platform shoes, spiked sleeve cape, everything. He posed for picture after picture.

Local hard rock group Revengeance has been picked by Kiss and Guitar Center as the Pizza Hut Park winner of Guitar Center On-Stage, a competition that gives bands the opportunity to open for Gene Simmons and company at a tour stop. The Saturday show in Frisco also features Pat Green and Daughtry.
Revengeance, which was picked from thousands of entrants, has plenty of rocking left to do: Its members are all 18 to 21 years old. The band includes Taylor Dennis, Travis Winsett, Nick Klinger and Vinnie Parma.

Contemporary R&B superstar Usher brings his OMG Tour to American Airlines Center November 24. Tickets for the show, which features opening acts Trey Songz and newcomer Miguel, go on sale Friday, Sept. 17, at 10 a.m. at all Ticketmaster outlets. Ticket prices are to be announced.

Usher is enjoying big success again with two albums -- Raymond Vs. Raymond and Versus -- as well as the hit singles "OMG," "There Goes My Baby" and "Lil Freak" featuring Nicki Minaj.

The new Songz CD, Passion, Pain & Pleasure, follows 2009's gold-selling breakthrough, Ready. If his increasing popularity continues to rise, he'll be headlining arenas pretty soon.

Photo: Usher performing at Sunday night's MTV Video Music Awards (Matt Sayles/Associated Press).

After interviewing a bunch of people outside the showroom at the Winstar Casino in Thackerville, Okla., on Friday night, I began to strongly suspect that just about everyone who saw Adam Lambert at Dallas' Palladium Ballroom on Tuesday had patiently (or not so!) waited for Friday, then driven up across the Interstate 35 border to see him again. (Thackerville is normally just an hour and 15 minutes from downtown Dallas, although in Friday-night traffic it took us more like two-and-a-half.)

The Glamberts, the singer's most ardent fans, were out in full force, as seen in the picture of (from left) Trish Bollard of Rogers, Ark., Blaine Milligan of St. Louis, Dan'niel McKnight of Broken Arrow, Okla., and Lulu Thomsett of Nashville, Tenn. This was Lulu's 17th concert; she's 62 and has cards identifying herself as "GlamTrampin' Grannie." Uh-huh, if I could quit my job, I might just follow Adam Lambert around the country with ya, sweetheart!

You could've heard the pop of a bottle cap.

It was that quiet when hometown singer-songwriter Sarah Jaffe offered a stripped-down version of "Clementine" featuring a piano, an acoustic guitar and a microphone Saturday night at Granada Theater. The sold-out crowd of young hipster types and older, serious artist supporters listened to every nuance of a most enveloping song.

That's Jaffe's specialty. Her brand of fiery baroque folk-pop, from her nationally acclaimed full-length debut CD, Suburban Nature on Dallas' Kirtland Records, has a life-changing cathartic pull. Her tunes come bathed in stealthy hooks, as "Vulnerable" is, or awash in a soaring chorus like "Before You Go," her hour-long concert closer. It was then that she asked the audience to participate: "All I want you to do is sing as loud as you can," she said.

Photo: Sarah Jaffe smiles for the camera -- and the crowd (Robert W. Hart/Special to DMN).

Chicago metal masters Disturbed, fronted by the brooding David Draiman, headlined the Rockstar Energy Drink Uproar Festival Friday at Superpages.com Center with a 65-minute set decked with sophisticated video images, eight shooting flames of pyro and a chest-rattling, powerful selection of tunes.

Disturbed celebrated the recent release of Asylum, its fourth No. 1 album since 2002. That's the band Larissa Prilliman, 25, of Dallas, came to see. "Yeah, it's heavy metal but they have lyrics you can actually understand," she said. "And they have a very distinctive sound."

Her concert companion John Carter, 27, of Plano, braved the scorching heat for supergroup Hellyeah, which cranked out Southern-fried metal from 2007's Hellyeah and the new Stampede. Carter relished the Dallas-originated band's blistering performance on the smaller stage, but he's a regular at hard rock festivals.

Photo: Disturbed in a studio shot from 2009 (Warner Bros. Records).

It's about 9:20 Tuesday night at Palladium Ballroom. Adam Lambert, the star of the show, still hasn't taken the stage. The crew has finished changing the platform after opening act Allison Iraheta's set.

In a blink Lambert's face adorns the backdrop screen, a video image projected from the other end of the club. The crowd rushes forward, cell phones extended, to snap pictures of a picture.

The mere sight of Adam Lambert incites instant fan-demonium. His disciples are hardcore and multi-generational. The Palladium audience seemingly covered grade school to grandma, with most ranging from 20s to 40s. Many were dressed to honor the American Idol runner-up - a top hat here, a feathered boa there and a velvet trenchcoat over yonder.

Photo: Adam Lambert in all his flamboyant glory (Vernon Bryant/DMN).

So, this has been a busy concert weekend for the music staff -- and all at Superpages.com Center in Fair Park: Creed on Friday night, John Mayer on Saturday and the Budweiser Superfest on Sunday.

About Superfest: No one performer was allowed onstage for longer than 45 minutes, if even that. That meant galloping through signature hits and new songs, that given time, the audience might have found a groove to. As it was, it feels as if Kem upstaged Anthony Hamilton, who had the last performance spot. His show, though well-received, was a touch spotty. With the limited time allotted his set Sunday night, he just spent too much time on one thing. It didn't seem to matter to fans, who were alternately leaving the venue and just going outside to the fair-like atmosphere just inside Superpages.com Center. Jaheim was still posing for photographs at show's end. How's that for service?

Freelancer Matt Weitz on John Mayer: "Read too many interviews in which Mayer drops racial epithets, speaks poorly of a former lover or waxes poetic about onanism, and you might think of him as a bozo or, even worse, a creep.

"As Saturday's show made clear, that would be too bad."

"Mayer has a good voice, monstrous chops on the guitar and an onstage charisma that's hard to resist."

Freelancer Mike Daniel on Creed: "Creed's 16-song, 95-minute gig was methodical and plodding. ...

"[Lead singer Scott] Stapp recently said that Creed should be assessed by its live show now. Well, get it together for next time then, because this one was boring."

Meat Loaf sauntered across the stage, stopping at the platform's edge to give the excitable crowd an intense stare. Later he flew into a mock rampage, hollering at the audience in balcony seats to stand up and sing-along.

Oh the drama.

Meat Loaf leaves a visceral impression. The man born Marvin Lee Aday in Dallas delivered the bombast for two hours Thursday night at House of Blues. Backed by two female vocalists and five male musicians, Meat Loaf gave us exactly what you'd expect - loud, epic rock 'n' roll.

Photo: Meat Loaf basked in the bombast Thursday night at House of Blues (Rex Curry/Special to DMN).

As one of the pioneering women-in-rock bands, Heart, fronted by the still powerhouse sisters Ann and Nancy Wilson, survived the heady '70s, a myriad of personnel changes, the hair spray days of the '80s and the grunge assault in the '90s.

The Wilson siblings remain indestructible, handily influencing new generations of singers on American Idol and Glee.

Ann Wilson, toward the end of an almost two-hour set Monday night at House of Blues, warmly thanked the sold-out crowd for always being there. Those weren't empty words. Heart has ridden the roller coaster of mainstream recordings, soaring to huge successes and plunging to stifling failures.

Photo: Nancy and Ann Wilson onstage Aug. 3 in New York (Caleb Ferguson/The New York Times).

GRAND PRAIRIE - If you get lost in his lyrics, Jackson Browne will take you on a wistful, cathartic ride. Browne's poetic words speak of broken dreams and mended hopes. He sings of love's great elation, life's everyday disappointments and the resilience that makes it worthwhile.

For him it's all part of the journey, with music dotting every pit stop.

Before a large and loving crowd Friday night at Verizon Theatre, Browne performed for 2 hours and 35 minutes. The show began with a 45-minute acoustic set featuring Browne and that multi-stringed instruments marvel David Lindley. Then we got almost two hours of Browne and his full band, which also included Lindley.

Photo: Browne and Lindley during the acoustic portion of Friday's Verizon Theatre concert (John F. Rhodes/DMN).

The message was perfectly simple, that the road to true love and self-awareness is paved with temptations in the form of booze, sex, fame, fortune and vanity. True thoughts. But progressive metal gods Queensrÿche brought them to life in a most entertaining, naughty and visually arresting way.

I'm talking about the Queensrÿche adults-only cabaret concert before an enthusiastic crowd Sunday night at House of Blues. Lead singer Geoff Tate, call him the cabaret master, backed by his four band mates spent about two hours rocking, vamping, belting and interacting with go-go dancers, trapeze artists, drag queens, a ballerina and various other characters.

Tate, bald and physically taut at 51, carried the proceedings with a wickedly watchable combination of confidence, flair, vocal prowess, instrumental tricks and a flamboyantly seductive persona. The guy should be doing musical theater.

Photo: Tate reigns high on his soapbox (Geoffrey Gribbin).

Ballads don't usually translate well in an amphitheater packed with 17,000 fans. Ah, but then there's Brad Paisley and his superb video wizardry.

In concert Saturday night at Superpages.com Center, Paisley caressed the opening verse of the heartbreaking "Whiskey Lullaby." Then from a corner of the stage appeared a clip of duet partner Alison Krauss so life-like that the crowd let out a collective gasp. It was a brilliant melding of melancholy and technology.

This is typical Paisley, though. He embraces visual electronics with sophisticated ease. A series of video screens engulfing the platform's backdrop showed eye-popping images of the wet stuff while he sang "Water," the inaugural number in his nearly two-hour set. That was apropos since his trek has been dubbed "The H2O Tour." Later we got his always hilarious animated video, "The Adventures of Brad Paisley."

Photo: Brad Paisley and the video wizardry Saturday night at Superpages.com Center (Khampha Bouaphanh/Special to DMN).

Who would imagine that Ciara would even get out of bed for a set shorter than 30 minutes? Well, that's exactly what happened at the K104 Summer Jam on Saturday night at Verizon Theatre at Grand Prairie.

Not that anyone was complaining. One peek at the sexy crunk-n-B goddess, and all was forgiven. Or so I'm told.

But Ludacris (right) played and played to a pretty decent-size crowd at Verizon, which is still suffering from name whiplash it seems. On the way to the venue, I heard a woman call in to K104 to ask where, exactly, Verizon Theatre was. When told, "30 at Beltline," she said, "Oh, Nokia?" Yes.

There were lots of album plugs, so let's get them out of the way here:

Dondria's (she's from Sachse) Dondria vs. Phatfffatt will be out Aug. 17.
Bobby Valentino's Fly on the Wall (I know, I know. Don't tell AC/DC) will be out soon, too.

And so on ...

After singing her heart out at her sold-out Friday show, Lady Gaga took her after party to an unusual location: the Round-Up Saloon, a western gay bar in downtown Dallas.

However, it isn't as unusual as it sounds: she's been there before. The popstar actually performed at the bar two years ago on June 14, 2008, back when she was still mostly under the radar. Even though she only performed two songs ("LoveGame" and "Just Dance") before leaving, the spot was still a location she felt worth revisiting. Plus, Gaga has always been appreciative of the support she's been given from the gay community - this was a way for her to say "thank you".

Isn't it cool to see what can happen in two short years?

Click into this blog to see her performance from two years ago.

Now this is just precious. As seen on VH1.com:

"It's one thing when fans pelt you with shoes, water bottles, coins or, in the case of Kings of Leon, lacy underthings. But when pigeons rain down black and white hell from above, well, that's just too much. The sibling band just couldn't take the assault on Friday night, when some rats-with-wings in the rafters at the Verizon Wireless Amphitheater in St. Louis opened fire on them."

There are plenty of snarky, poop-tastic puns I could add to the end of this, but I couldn't pick the right one. I'll leave that to you guys in the comments.

The moment was far too brief. Lady Gaga, performing before a sold-out crowd Thursday night at American Airlines Center, finally sat down at the piano to perform "Speechless." It's her one recorded song that reveals true artistry, a poignant ballad where she proves she can sing and play.

But Gaga just couldn't help herself. She had to have that piano top in flames distracting us from the melody, the lyrics and the performance. Sensory overload is her modus operandi. Anything to fortify the spectacle while she masks the substance.

Therein lies the inherent problem with her two-hour concert, not to mention her career so far. She's outlandish for the sake of outrageousness. She strives to convince us that there's so much more to her disposable yet catchy array of thump-thump, electronic pop-dance hits. She hides under the "performance artist" banner in order to get away with props and costumes that are merely window dressing.

Photo: Gaga performing on the Today show earlier this month (Richard Drew/AP).

Lady Gaga fans are crazy. Seriously.

I thought I was a fan of her before her concert, but since I'm not willing to dress up for her and wait in the Texas heat all day before her concert...yeah, I'm no fan.

Here's the gist of it: When I was asking around to see what time these "little monsters" had arrived, the earliest time I got was 7 in the morning - for a show that started at 8 that night. That's over 12 hours of waiting for a performance in the blazing heat. Fans came prepared with coolers of food, magazines and umbrellas to shield themselves Victorian-style from the heat (when I got there, some of the girls had bunched together to form a turtle shell of umbrellas to cover their entire bodies.) One girl even brought a print-out she made, featuring every single picture taken of Gaga - at first, I thought she was carrying a blanket. And, of course, there were costumes. Cigarette shades and caution tape-constructed outfits were popular, along with outrageous make-up, tights, heels, and jewelry.

If you didn't pass by the AAC yesterday morning, we still gave you a glimpse of the chaos. And, chances are, the same thing is happening again right now in preparation for tonight's concert. Swing by Victory Park to see for yourself.

GRAND PRAIRIE -- Electricity crackled the moment Germany's heavy metal masters, the Scorpions, opened their farewell tour stop Wednesday night at Verizon Theatre with "Sting in the Tail," the title cut from the band's swan song CD.

What could have easily been a rote performance by aging rockers on their way to retirement was actually a musical manifesto. Klaus Meine, Rudolf Schenker and their three mates, including fiery drummer James Kottak, delivered a 90-minute set that solidified their reputation as experienced pros. More than four decades later, these guys are still hungry on that platform. They could teach the young guns a riff or two.

Meine, he of the piercing, high-pitched voice, blazed through a batch of tunes that stretched as far back as 1979's Lovedrive and hit all the highlights through Sting In the Tail. In the midst of the signature Scorpions sound, a blistering formula combining beefy rhythms, hard rock swagger and soaring vocals, we got a couple of effective ballads, the prophetic "The Best Is Yet to Come" and the anthem "Wind of Change."

Photo: Klaus Meine rocks with a vengeance (Courtney Perry/DMN).

Follow me on Twitter, @MarioTarradell, for play-by-play tweets on:

The Scorpions concert tonight at Verizon Theatre in Grand Prairie. The show is part of the longtime heavy metal band's final tour.

And of course the ubiquitous Lady Gaga Thursday night at American Airlines Center. That's the first of two sold-out, back-to-back shows at AAC.

Got a Lady Gaga costume? Post pictures here.

Photos: Scorpions (Mark Weiss) and Gaga (Richard Drew).

At the peak of his interpretive powers, Canadian crooner Michael Bublé opened his sold-out concert Sunday night at American Airlines Center with "Cry Me a River." Not just any rote rendition of the grossly overdone pop standard, but the one with the Bublé stamp: A big, James Bond-inspired performance that was all nocturnal mood, screaming horns and thumping drums.

It is, without a doubt, the most imaginative reading of a song that lost its meaning decades ago. It's already a Bublé career signpost.

But then there's Bublé's take on Billy Paul's smoldering soul anthem "Me and Mrs. Jones." Nice enough, done big band jazz style, but it's antiseptic stacked next to the 1972 original. The tune still belongs to Paul.

Photo: Bublé owns the American Airlines Center stage Sunday night (Mona Reeder/DMN).

You can get a ticket to Lady Gaga's July 22 concert at American Airlines Center. And all it will cost you is some of your time.

It's all courtesy of Virgin Mobile and their Free I.P. program. They are having an event tomorrow and Friday at what they're calling a "kid's camp crafting event." Volunteer there to help theater teachers make puppets for a performance at the camp. The puppets get to stay with the Homeless Education Program when the camp is done.

So you want the details, right? Volunteers must commit to helping from noon to 4 on both days. The event is at 1710 North Carroll in Dallas. You have to sign up, though, and it's only nine (9) opportunities, so get to it.

(Photo of Lady Gaga performing on the Today show by Richard Drew/The Associated Press)

Uncle Calvin's Coffeehouse is, as I've written often here, among my very favorite venues for live music. At 58, I have reached a point where bars are easily my least favorite venues for live music (with Poor David's Pub being the rare exception). But aside from that, I love the surprises, the rare finds I discover at Uncle Calvin's, which tend to surface in unexpected warm-up acts I've never seen or even heard of. Such was the case last Friday night, when I went to hear one of my favorites, Austin singer-songwriter Jimmy LaFave and his consistently amazing band (John Inmon on lead guitar, Bryan Peterson on keyboards, Glenn Scheutz on bass and Bobby Kallus on drums). It was a Woody Guthrie Festival Preview, giving listeners an appetizer of what they might hear at this weekend's annual Woody Guthrie Festival in Woody's hometown of Okemah, Okla. Appearing with Jimmy were Okemah resident Susan Herndon and native Tasmanian Audrey Auld, who emerged as the night's biggest surprise.

Photo: Audrey Auld

ROWLETT - The Black Tie Dynasty reunion concert Saturday evening during QueFest at Elgin B. Robertson Park could have been a wash-out. A mere two hours before the four local band members hit the stage it was raining hard with a fierce wind, no doubt fueled by Lake Ray Hubbard next door.

The skies never cleared, but the wet stuff did stop. So Cory Watson, Brian McCorquodale, Blake McWhorter and Eddie Thomas wasted no time. They played a tight, hour-long set, as the opening act for headliner Joan Jett & the Blackhearts, that proved these guys should keep making music. The 11 songs came from three albums, 2005's This Stays Between Us, 2006's Movements and 2008's Down Like Anyone.

Immediately with the first number, "Bells," BTD encapsulated their sound - haunting, ethereal keyboard flourishes, kicking rock-dance drum beats, stinging guitar and bass licks and Watson's vocal combo of angst and disaffection. It's classic new wave.

Photo: Thomas, McWhorter, McCorquodale and Watson all tangled up (Jason Janik/Special to DMN).

Kevin, Nick and Joe Jonas have shuffled their touring itinerary. So the Jonas Brothers concert originally scheduled for July 27 at Superpages.com Center has just been moved to Sept. 12. Here's the official word from the band's publicist and concert promoter Live Nation:

Jonas Brothers released today an all-new world tour schedule that now includes additional shows in both Latin America and Europe. Due to recent changes in the Jonas Brothers schedule and the addition of several international tour markets on their upcoming Live In Concert world tour, the show in Dallas scheduled for July 27th has been moved to September 12th. Tickets for this show will be honored on the new date or refunded at point of purchase.

For more information, go to www.livenation.com or www.teamjonas.com.

Photo: Kevin, Joe and Nick Jonas at the Grammy Awards in January (Chris Pizzello/Associated Press).

The writing was on the wall, and now it's confirmed. According to a press release from Nettwerk Music Group, Dallas' Aug. 16 Lilith Fair festival date at Superpages.com Center has been cancelled. The all-day, all-female musical gathering featuring Sarah McLachlan, Dallas-raised Norah Jones, Sheryl Crow, Colbie Caillat, Court Yard Hounds, Miranda Lambert, Corinne Bailey Rae and many others has been experiencing the same tough time this summer with ticket sales that also plagued the multi-act Country Throwdown extravaganza, which was scheduled for June 10 at Superpages.com Center and was also cancelled.

Other Lilith Fair stops also axed according to the release are: Salt Lake City (July 12), Montreal (July 23), Raleigh (Aug. 4), Charlotte (Aug. 6), West Palm Beach (Aug. 10), Tampa (Aug. 11), Birmingham (Aug. 12), Austin (Aug. 14) and Houston (Aug. 15).

If you bought Lilith Fair tickets, go back to the point of purchase for a refund.

Photo: McLachlan in a shot from May 2010 (Chris Pizzello/Associated Press).

On the American Airlines Center stage Wednesday night sat metallic models of New York City's Chrysler and Empire State buildings, congas, bongos, shakers, a slew of guitars and two banks of keyboards.

That meant one thing: It was an Aventura concert.

The NYC quartet, the hottest Latin music act of 2009 and 2010, drew 8,780 fans just over six months after it packed Grand Prairie's Verizon Theatre (then known as Nokia Theatre). The crowd was rabid, particularly the women who screamed every time lead singer Anthony "Romeo" Santos sang, swivelled, spoke...anything. He was clearly in charge, backed by fellow Aventura members Lenny Santos, Max "Mikey" Santos and Henry Santos Jeter as well as nine other musicians.

Photo: Aventura takes control of the AAC stage Wednesday night (Louis DeLuca/DMN).

Jordin Sparks belongs onstage. That fact was proven time and again during the American Idol winner's Tuesday night concert at House of Blues.

It's not just that Sparks has pipes, although she sure does and can belt a song like her next heartbeat depends on it. Most importantly, what the perky 20-year-old has in spades is charisma and that innate ability to sell a song. Flanked by a seven-piece band, including three background vocalists, Sparks delivered about 80 minutes of tunes from her national CDs, 2007's Jordin Sparks and 2009's Battlefield.

The musical mood of the evening was high-energy pop, R&B and dance. She kicked it off potently with the terrific radio single, "Battlefield," and the slamming club number, "S.O.S. (Let the Music Play)." As a performer, Sparks was perky and sassy. She worked the platform, strutting, gyrating and smiling. She was equal parts ingenue and grown-up.

Photo: Sparks belts it out Tuesday night at House of Blues (John F. Rhodes/DMN).

You'd expect an Eagles concert to highlight a couple of epics. The legendary group, which sold-out American Airlines Center Saturday night, put on a nearly three hour show complete with an intermission. So while not a jam band, the Eagles certainly have a few opuses in the repertoire.

They are "Hotel California" and "Long Road Out of Eden." The former arrived during the first set complete with a four-man horn section, an awesome guitar solo by Joe Walsh and atomospheric drum work and vocals by Don Henley. The latter, which is the title cut of the Eagles' long-awaited 2007 studio disc, came during the second half and was all sweeping precision and expansive beauty.

Those are hallmarks of an Eagles performance. The musicianship was stellar, not only from Henley, Walsh, Glenn Frey and Timothy B. Schmit but also from nine backup players that helped provide a full, tight and panoramic sound.

Photo: Schmit, Henley, Frey and Walsh Saturday night at AAC (Rex C. Curry/Special to DMN).

The July 4 A.R. Rahman show at American Airlines Center, dubbed "Jai Ho: A Journey Home," is postponed to Sept. 18. Rahman was the composer behind the music of the sweeping hit, best-picture winner and force of nature "Slumdog Millionaire." Tickets will be valid for the Sept. date, but refunds are available wherever you bought yours. If you're not sure of what to do, let Ticketmaster (800-745-3000) be your guide.

Rahman's explanation via e-mail from an AAC rep and a Rahman rep:

"As you may know, members of our tour miraculously escaped a big disaster in Detroit this past Saturday, when part of the Pontiac Silverdome infrastructure collapsed on our set. With that, we have decided to postpone the remaining dates of the North American leg of this tour and will reschedule them at a later date," Rahman said.

(Picture of A.R. Rahman by Reed Saxon/The Associated Press)

Oh, the joys of the summer music season. The DMN music staff will be covering these shows next week, tweeting, blogging all the way:

Chicago and the Doobie Brothers, tonight at Superpages.com Center

Eagles, tomorrow at Superpages

Jordin Sparks, Tuesday at House of Blues

Aventura, Wednesday at American Airlines Center

Ray Price and Roy Clark, Friday at the Meyerson

Vans Warped Tour, Saturday at Superpages

Justin Bieber,
Monday, July 5 at Verizon Theatre

Join the conversation: Follow Music Critic @MarioTarradell on Twitter and read and comment on reviews online and in Guide Daily.

(Photo of Justin Bieber in concert in Trenton, N.J., by Tim Larsen/The Associated Press)

FORT WORTH - R&B's the S.O.S. Band toasted its 30th anniversary Saturday night at Sundance Square before an enthusiastic Juneteenth Celebration crowd that grooved, sang and jammed to 75 minutes of familiar tunes.

That was the perfect recipe. Original S.O.S. Band vocalist Mary Davis led seven musicians through key tracks from 1980's S.O.S., 1982's S.O.S. III, 1983's On the Rise, 1984's Just the Way You Like It and 1985's Sands of Time. The signature blend of heavy-bottomed funk, sweeping melodies, scratchy guitars, brassy horns and smooth synthesizers remains intact.

It was that sound of success, borrowing the words behind the band's moniker, that proved to be the sonic blueprint for famed songwriters-producers Jimmy Jam and Terry Lewis. They would later go on to multi-million-selling stardom with Janet Jackson, Mariah Carey, Usher, the Human League and Mary J. Blige. But the S.O.S. Band put them on the map.

Photo: Mary Davis funks it up for the Fort Worth crowd Saturday night (Mona Reeder/DMN).

GRAND PRAIRIE - Here's the scene: Erykah Badu's controversial video "Window Seat" plays on the screen behind her onstage at Verizon Theatre Monday night. But Dallas' unpredictable singer, songwriter and musical dramatist launches into a slow, slinky cover of Zapp's funk staple "More Bounce to the Ounce."

Huh? Is this Badu's sly commentary on her celluloid appearance as she stripped on camera while walking through Dealey Plaza?

With Badu, unanswered artistic questions are a foregone conclusion. So are long, winding concerts. She was on that platform for two hours. That was after 25 minutes from Janelle Monáe and 40 minutes from B.o.B. Add in set changes and we're talking about five hours. On a Monday night, no less.

Yes, another facet of Badu's charm is her lack of time constraints. Nobody can elongate a song the way she can. Nobody can spend precious minutes just vocalizing - frenetic scatting, operatic wails, you name it - and travel through neo-soul, reggae, funk, R&B, jazz, pop, hip-hop and beautiful spaciness like she can.

Photo: Badu in a top hat kind of mood Monday night (John F. Rhodes/DMN).

Ready or not, Dallas' Erykah Badu is in concert Monday night at Verizon Theatre in Grand Prairie. She's bringing with her opening acts Janelle Monae and B.o.B. Follow me on Twitter @MarioTarradell for play by play thoughts and info on the show. It should be a memorable evening of soulful music.

Oh, and of course, come back here after the Badu musical experience and tell me what you thought of the performance.

Photo: The always striking Badu performs in New York June 7 (Brian Harkin/The New York Times).

Two things are now certain about Tim McGraw: Seventeen years into his recording career he can still sell-out Superpages.com Center, as he did Saturday night with about 19,000 fans. And he's the superstar performer who will take the stage Sept. 10 during the last pre-Super Bowl concert at Arlington's Cowboys Stadium.

McGraw made the announcement himself, almost as an afterthought, and definitely in the heat of a nearly two hour show backed by his 10-piece band, the Dancehall Doctors. The crowd roared its approval. For them, there's never too much Tim McGraw.

The Louisiana native is easily one of the best male country music touring artists of the last decade. His two opening acts, Lady Antebellum and Love and Theft, should take lessons.

Photo: Tim McGraw in command of the platform Saturday night (Louis DeLuca/DMN).

Ready for the big country music concert Saturday night at Superpages.com Center? Headliner Tim McGraw, no question a superstar of the genre, performs during a gig that also features opening acts Lady Antebellum and Love and Theft. Follow me on Twitter @MarioTarradell for play by play thoughts and info on the show. Also, check out my tweets on Maxwell & Jill Scott Tuesday night at American Airlines Center, Brooks & Dunn May 29 at Superpages.com Center and the Los Tres Tour May 30 at AAC.

Oh, and of course, come back here after the McGraw extravaganza and tell me what you thought of the performance.

Photo: McGraw in concert June 10 at the CMA Music Festival in Nashville (Wade Payne/Associated Press).

Ever heard of the Wonder Girls? 2PM? No?

If not, it's probably because they're from South Korea.

I'm one of those people who listens to international music now and again, so I actually do know who they are -- let me tell you, they rock. The Wondergirls and 2PM are two separate girl and boy bands, respectively, reminiscent of the rise of American group bands in the '90s (aka catchy dance music with the moves to match.) The Wondergirls' most popular single, "Nobody", is what truly vaulted them into the American public; same goes for 2PM's "Again & Again" (click into this blog to see videos of these songs.)

Right now they're traveling together on a world tour, and their next stop is tonight at Dallas' very own House of Blues. If you're going, be sure to tell us in the comments.

AP Photo.

Headed to the Palladium tonight to check out LCD Soundsystem? Cool. Hope you have fun. DMN staff critic Chris Vognar will be there too. Follow him @chrisvognar for his Twitter thoughts on the show seen from his seat. Then check back at dallasnews.com/music tomorrow for his review. Show starts at 8pm.

The sun and the moon slowly moved toward each other on the video screen high above Maxwell's stage Tuesday night at American Airlines Center. The eclipse was Maxwell's cue. He emerged in a suit, tie and shades.

That sun-and-moon dichotomy encapsulated Maxwell's artistry. He's an old-school R&B singer and songwriter comfortable in a falsetto or a throaty croon. He can revel in the libido, as he did on the super sexy "Til the Cops Come Knockin'" and then thoughtfully, passionately embody Kate Bush's stunning ode to adult resilience "This Woman's Work" without changing a word.

Maxwell, whose 90-minute set headlined an evening of music that began with a sassy, provocative performance by R&B songstress Jill Scott, brought with him a 10-piece band that included background vocalist LaTina Webb from Arlington. His show focused plenty on 2009's potent CD, BLACKsummers'night, with six songs from that comeback effort.

Photo: Maxwell was on from the word go Tuesday night at AAC (Jason Janik/Special to DMN).

Iron Maiden begins its Final Frontier World Tour Wednesday night at Superpages.com Center. Dallas is the first of 25 shows in major cities in the United States and Canada before the tour heads to Europe.

A college professor of mine preached the truism that "good writing is wherever it is found." The same could be said for music. It never ceases to amaze me that the best music I hear is almost never in a loud, sweaty arena. Sorry, kids, you can have Lady Gaga (is that short for "Gaga me with a spoon"?). Fewer than 100 people show up most nights at Uncle Calvin's Coffeehouse on Central Expressway, or at Crossroads Coffeehouse & Music Co. in Winnsboro, but each cozy, well-kept secret of a venue keeps the customer satisfied -- and does so consistently. One recent find at Uncle Calvin's was singer-songwriter John Fullbright. He hails from Okemah, Okla., the same town as Woody Guthrie, and I'll be darned if he doesn't sound like Woody Guthrie incarnate. I had a similar experience Saturday night, when I wandered into 55 Degrees, a "wine bar & bistro" in West Plano. Owner Laura Lucia has put together quite a welcoming getaway with 55 Degrees, but it was aided in no small part by the velvety voice of Liz Feldman, whose covers of songs by Carole King and Burt Bacharach and Hal David were pure pleasure. Listening to Liz, I kept thinking of one of my favorite soundtracks, from the Helen Hunt-Jack Nicholson movie As Good As It Gets. I wanted to hear what Liz might do with the Danielle Brisebois song, "Everything My Heart Desires." (Please read on!)

Photo: Liz Feldman in concert

Live Nation today announced "No Service Fee June" with the elimination of service fees on nearly 8 million tickets, more than 700 shows and 110 artists at all 50 Live Nation owned and operated amphitheaters for the entire month of June.

"A fan in every seat is our mission this summer," said Michael Rapino, President and CEO of Live Nation. "We know that's tough in this economy, so it's our job to find a way to make concerts more affordable. Starting June 1, Live Nation and the world's top artists are offering live music fans the experience of seeing their favorite bands with no service fees on more than 8 million tickets at LiveNation.com."

Tickets for "No Service Fee June," available only at LiveNation.com kicks-off Tuesday, June 1, 2010 at 12:01am ET and will remain in effect until 11:59 pm ET, Wednesday, June 30.

For a complete list of all artists, venues and on sale dates, please visit www.LiveNation.com.
This offer is available only at Live Nation amphitheaters in the U.S. and Canada including the following concerts at Superpages.com Center:

The Los Tres Tour Sunday night at American Airlines Center starred Joan Sebastian, Alejandro Fernández and Marco Antonio Solis. They wrapped up their inaugural nine-date trek together in Dallas. The three-hour concert sported 25 musicians, two sets from each Latin music superstar, duets and a finale that featured all three onstage.

The always eloquent, elegant Solis brought four female dancers for a pair of sets that covered solo as well as hits with his former band Los Bukis. He was in folkloric mode with "Mi Chaparrita," and "Morenita," then turned up the groove with "No Molestar," "Tu Carcel" and "Mas Que Tu Amigo." Solis was quite incredibly agile as he handily kept track with his young and taut dancers.

Later, Solis and Sebastian went with a traditional ranchera love song for their duet, while Fernández and Solis took a contemporary approach. The encore performance found Los Tres fronting the mariachi as everybody in the house raised cell phones and cameras to snap a shot of three respected Latin music artists sharing a song.

Photo: Solis vibrant in fiery red (Ben Torres/Special to DMN).

The Los Tres Tour Sunday night at American Airlines Center starred Joan Sebastian, Alejandro Fernández and Marco Antonio Solis. They wrapped up their inaugural nine-date trek together in Dallas. The three-hour concert sported 25 musicians, two sets from each Latin music superstar, duets and a finale that featured all three onstage.

The smooth-voiced Fernández, son of ranchera legend Vicente Fernández, dedicated his first platform stint to Latin pop with spirited takes on "Se Me Va La Voz," "Canta Corazón" and "Pecadora." For his second turn, he donned the charro suit and passionately delivered "Estuve" and others as an 11-piece mariachi provided beautiful musical authenticity.

Later, Fernández and Solis took a contemporary approach to their duet. The encore performance found Los Tres fronting the mariachi as everybody in the house raised cell phones and cameras to snap a shot of three respected Latin music artists sharing a song.

Photo: Alejandro Fernández in sleek, Latin pop mode (Ben Torres/Special to DMN).

The Los Tres Tour Sunday night at American Airlines Center starred Joan Sebastian, Alejandro Fernández and Marco Antonio Solis. They wrapped up their inaugural nine-date trek together in Dallas. The three-hour concert sported 25 musicians, two sets from each Latin music superstar, duets and a finale that featured all three onstage.

The affable, comical Sebastian declared during his second set that he loves meaty women. So he called up two plus-size females from the audience and danced with them as he sang an homage to large ladies. The song was a robust banda with plenty of horns, drums and a towering tuba. Earlier Sebastian was animated from the get-go with rhythmic numbers such as "Me Gustas" and "Secreto de Amor."

Later, Solis and Sebastian went with a traditional ranchera love song for their duet. The encore performance found Los Tres fronting the mariachi as everybody in the house raised cell phones and cameras to snap a shot of three respected Latin music artists sharing a song.

Photo: Sebastian isn't shy onstage, nor is he afraid to get a laugh (Ben Torres/Special to DMN).