Raleigh, NC - Media Reviews

Mix Of New Songs, Classics Gives Def Leppard Fans New Reasons For Hysteria At The Creek By Judy J. Smith

In the four years between the Olympic Games, excitement builds and the public eagerly anticipates the next time around. The same can be said for a Def Leppard tour: The band usually takes several years between albums. Anticipation grows until the album is finally released and the customary tour begins.

Although the band has sold more than 35 million albums worldwide, the constantly changing tastes of pop music could make anyone wonder whether the public would accept the group. And the latest album, "Slang," is drastically different from anything the band has recorded. But any doubts about Def Leppard's presence in today's music scene were laid to rest at the July 26 show at Walnut Creek Amphitheatre.

Crowd response to opening act Tripping Daisy was minimal but polite. While the band was solid, it did not hold up well with Def Leppard fans due to the difference in music styles. Tripping Daisy is more of an alternative band, with more feedback and less clarity. Daisy would have fared better at a smaller club where it could interact with its own crowd.

When Leppard rolled on stage at 9:15 to the piped-in music of Queen's "We Will Rock You," the almost-packed house was ready and on its collective feet. The stage set-up was considerably stripped-down; there was no fancy lighting or lasers from the "In-the-Round" tours of the past. The backdrop consisted of the band's amps and speakers.

Perhaps the biggest change from the last tour was in the band itself. Each member bounced on stage with renewed energy. The 1996 Def Leppard is a leaner, meaner version. In terms of appearance-wise, they have lost their '80s "glam-metal" image and become slightly grungier without losing their individuality.

Guitarist Vivian Campbell especially seemed to be enjoying himself. Without being hyperactive, he came across as energetic and convivial. Fellow guitarist Phil Collen was a bit more static, but seemed to be having a good time as he and Campbell played biting solo after biting solo.

The show was extremely fast-paced with barely a pause between songs. Gone as well were usual guitar solos, the extended bass intro to "Hysteria" and the audience participation segments; this was just a band and its music.

The band played good, solid renditions of classic Leppard songs. The first song, "Rock Rock (Till You Drop)," from 1983's "Pyromania," followed closely by 1981's "Another Hit and Run," started things off with a bang. Singer Joe Elliott constantly interacted with the audience and displayed pride in his band, acknowledging bandmates during a particularly notable solo, for example. An excellent performer with great stage presence, Elliott gave his all.

The majority of the show consisted of classics and crowd-pleasers. Trademark ballads were not the focus of the show but were prominent. The ballads ranged from 1992's "Have You Ever Needed Someone So Bad" to the plaintive "All I Want is Everything" from the latest album. "Two Steps Behind" from 1993 was performed acoustically, with the band drowned out by the audience singing along.

Usually when a band plays new material, there is a rush for the concession stands. Surprisingly enough, this was not the case with Leppard's crowd. A deafening roar greeted the opening notes of the radio-friendly "Work it Out," which features a rare wah-wah bass solo by the newly shorn Rick Savage. Savage, a vastly underrated performer, was in top shape as he played thundering yet melodic rhythms.

Perhaps getting the largest response of the new tracks was "Slang." A mish-mosh of rhythms and sounds ranging from rap to a Latin beat, "Slang" proved to be an excellent opportunity for everyone's voices to be heard.

The biggest surprise of the evening came in the form of "Switch 625," an instrumental piece from 1981's "High 'n' Dry" album. Rarely performed live, it focused on the guitars, but featured each member at his best.

Drummer Rick Allen had the only true solos of the night: once, at the beginning of "Rock of Ages" and again at the end of "Switch 625." The rumble from the back of the stage through each song once again showed why fans have consistently called Allen "Thunder God."

As the last note of "Rock of Ages" faded and the band left the stage, audience members finally took a breath and relaxed after an exhausting yet exhilarating night.

By NandoNext 1996.

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