Just called the pageant. They have limited seating, first come. Most is standing room, but since I'm disabled they put me on a list where I can get in early to get a seat. Thank goodness I called to check on seating. The tickets list seat #'s, but the pageant says the seat #'s aren't valid. I couldn't find section G03 on their "seating chart". The website says that the theater holds 1000-2300 depending on configuration. Have a feeling the 2300 will be squeezed in. Wonder how blue streaks in grey hair will look. wonder if Allison will be with him. Wonder if I'll survive the excitement. lol
THE PAGEANT 6161 Delmar Blvd. Saint Louis, MO 63112
Since opening it's doors in 2000, The Pageant has built a reputation as one of the best concert venues in the country. Built as a concert venue from the ground up, The Pageant boasts optimal sight lines and exceptional acoustics. No matter where you sit or stand, you will always be within 70 feet of the stage. Every seat is a good seat at The Pageant!
Capacity ranges from 1,000 - 2,300.
From the Pageants website. I think they'll squeeze in the 2300. :-] Wonder if its sold out yet.
I didn't exit Amazon but I did click on the stop ignoring space and now the IIHY thread has come back. I do not remember clicking anything over there because I never bother with those "yes" and "no" or "ignore" buttons so I think a little gremlin got into my computer!
This was Adam's review from his Mystic Lake Show. I will post the SAME CRITIC's review of Kris Allen's show right below it. I really liked this review and felt it was a fair and honest review and in most respects quite flattering to Adam. Remember, Jon Bream is a music CRITIC, not an Adam worshipper, and also look at what he said about Orianthi in this review.
Stagey Adam Lambert rocks Mystic Lake Posted by Jon Bream
Last update: June 13, 2010 - 4:17 AM
Adam Lambert got his Voodoo on at Mystic Lake Casino
On "American Idol" in 2009, Adam Lambert showed that he is a star. On Saturday night at sold-out Mystic Lake Casino, Lambert proved that he is a true star - a musical-theater mega-talent playing the role of glamorous rock star.
His voice was you-should-be-starring-in-"Phantom" fabulous. His outfits were David-Bowie-Spiders-from-Mars marvelous. His stage manner was sexy, smooth and you've-been-onstage-so-much confident. But this irresistible star was more stagey theatrical than spontaneous rock `n' roll. Still, it was highly entertaining, a splendid balance between emotional vocalizing and merry fun.
While becoming the runnerup on "Idol," Lambert came across as the son of Robert Plant and Freddie Mercury (if they'd somehow procreated together) who was raised by Gene Simmons and Cher in Las Vegas and Hollywood with frequent visits to Broadway. He could rock and wail, dress up glam and camp it up, surprise and mesmerize - with both his arrangements and his look. He could play any role - and adapt to any musical style - for his two or three minutes in the spotlight.
For his Glam Nation Tour, Lambert, 28, got to choose the roles, looks and contexts. As director of this musical, he conceived a reverse-intuitive beginning. The house lights went dark, the stage lights came on and a slide of Lambert appeared on a screen at the back of the stage as a recorded version of "For Your Entertainment," the title song of his debut CD, played in its entirety. But there was no Lambert. This was hardly a star entrance.
The show ended abruptly 63 minutes after that first recording began, meaning that the star was onstage for a mere 58 minutes (including the two too-long exits for costume changes). That's too little show for a $69 ticket.
Lambert gave the female-dominated audience its money's worth in the vocals, wardrobe and dancing departments. His outfits suggested Prince if the Purple One had been more goth than glam. Lambert came out in a long purple leather coat, with fringed sleeves and fur epaulets, black leather pants, a black top decorated with silver sequins, a black top hat covered with purple fishnet, fingerless black gloves, plenty of guyliner and glitter on his eyelids and forehead. Sporting all that finery, he opted to dance barefoot.
Lambert proved to a graceful and enthusiastic dancer, though all his moves were choreographed. Four backup dancers appeared periodically, greatly enhancing the New Orleans-flavored "Strut." Lambert's four-person band was a good fit visually and usually solid musically, though its groove didn't make him strut on the Queen-ly "Surefire Winners."
Lambert offered 10 of the 14 songs from his album and two tunes he'd covered on "Idol" - Johnny Cash's "Ring of Fire" (his voice went up higher and higher when he sang "down down down") and Tears for Fears' "Mad World" (which was more about singing than performing). Almost all of his numbers sounded more lively and immediate than on the album. Highlights included the stripped down "Whataya Want From Me," the hymn-like "Soaked" and the catchy "Fever."
Befitting a musical, there was little room for spontaneity - save for Lambert's cut-loose solo dancing in the home stretch of "If I Had You" and his unguarded, this-was-really-fun-wasn't-it smile at the end of that song.
Opening were Allison Iraheta, 18, Lambert's buddy from "Idol," and Orianthi, 25, Michael Jackson's guitarist from "This Is It." The impressively confident Iraheta has improved on ballads and still rocks with screaming abandon. Orianthi's best moment was playing guitar on one of Iraheta's numbers. Orianthi's own material was either too dated or derivative but she left room to sparkle on guitar.
Lambert set list: Voodoo (track from international version of his album)/ Down in the Rabbit Hole (song he performed on VH1's Unplugged and its on deluxe version of his album)/ Ring of Fire (Johnny Cash)/ Fever/ drum/dance segment (very dull, so Adam could change outfits)/ Sleepwalker/ acoustic set Whataya Want from Me/ Soaked/ Aftermath (costume change) full band Surefire Winners/ Strut/ Music Again/ Broken Open/ If I Had You ENCORE Mad World (Tears for Fears)
Think fellow Adam fans: How would you feel if this review was for ADAM instead of KRIS ALLEN? Same reviewer as above....
So why is Kris Allen an 'Idol' champ?
A mere 53 weeks after winning the title, the pop lightweight hasn't decided who he is as a concert artist.
By JON BREAM, Star Tribune
Last update: June 6, 2010 - 9:42 PM
After the next pitch is thrown, decisions by Major League Baseball umpires cannot be reversed. After Ryan Seacrest makes the announcement, the decision by voters about the winner of "American Idol" cannot be reversed. That's too bad, because after seeing Kris Allen in concert Saturday at the Fine Line in Minneapolis, I'd say America got it wrong. He should not have been the "Idol" champ in 2009. Adam Lambert should have prevailed -- and I don't need to see him in concert next Saturday at Mystic Lake Casino to reach that conclusion.
At the Fine Line, Allen demonstrated that, at best, he could be an appealing coffeehouse performer with a lightly soulful voice. The kinda reserved, totally cute (the words of the blonde behind me) dude with the bedhead faux hawk was eminently likable -- friendly, talkative and responsive to the crowd.
However, where it really counts, Allen lacked the voice, charisma, command, wherewithal and star power of someone carrying the title "American Idol." (The songs weren't much to get excited about, either, but that's been true of most debut albums by Idols.) His 72-minute performance was a poorly paced, encore-less disappointment -- easily the least impressive Twin Cities headline debut by an "Idol" champ.
The main problem is that, at 25, Allen doesn't know who he is or wants to be as an artist. (Gee, I sound like "Idol" judge Kara DioGuardi.) Backed by four guys who played more like hired guns than as a band, he'd try to sound like Maroon 5 on one tune, Barenaked Ladies on another, Jason Mraz on yet another.
Allen seemed most comfortable and confident when he had his acoustic guitar ("my moneymaker," he called it) to drive the song. Sitting down for an acoustic set, he soared on Garth Brooks' "Maybe," with three-part harmonies on this compelling country-folk-gospel arrangement. He was equally convincing on his own, ensuing "Before We Come Undone." Then he took a giant misstep, covering Radiohead's "Paranoid Android," which not only challenged Allen's voice (he essayed falsetto) but challenged "Idol" worshippers' patience with this odd obscurity.
Allen's decision-making was dubious. He saved his only radio hit, "Live Like We're Dying," for the finale. He didn't offer an encore. And he mucked his best known "Idol" number, Kanye West's "Heartless," by doing a full-band faux-reggae reading instead of the cool stripped-down solo rendition he'd done on TV.
Nonetheless, the crowd of 550 -- a sparse turnout a mere 13 months after Allen was named your "American Idol" -- carried on like he was Justin Bieber for married 20- and 30-something women who'd left their hubbies at home. There were girlish screams when he took the stage, enthusiastic sing-alongs and a long line after the show to get his autograph. To them, Allen is still their "American Idol."
I think there should be more of a comparison between Kris and Lee if there has to be any comparisons at all. Kris just isn't a showman. He has a decent voice. But just not someone I'd pay money to see on stage.