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04/26/2011 - Read Rob Williams' full Centennial Concert Hall show review. Here are some excerpts: "For people who didn't like the revamped versions, stay home and listen to the albums if you want to hear them the same way every time..."

"But if anyone in the sold-out crowd of 2,300 in the intimate, great-sounding confines of the Centennial Concert Hall minded the new versions, it was hard to tell, since almost everything the Rock and Roll Hall of Famer and his six-piece band offered received a huge roar of approval..." Read More
04/18/2011 - Read Sandra Sperounces' Northern Alberta Jubilee Auditorium show review. Here is an excerpt: "the 59-year-old wailed like an old Mississippi bluesman..." Read More
04/11/2011 - In Los Angeles, the Rock and Roll Hall of Famer took the stage alongside an electric band to the strains of Johnny Cash’s “God’s Gonna Cut You Down...” He kicked off his set with a revamped “Authority Song,” now boasting a smoldering rock groove, plus call-and-response action at the end. The singer’s voice had a grittier than usual timbre, giving the searing Son House song “Death Letter” (extended and accented here with mandolin, accordion and violin) and “John Cockers” added heft. Read More
03/04/2011 - Read Ben Crandell's complete blog review. Here are some excerpts: "a packed house was joyfully immersed in the elixir that the Indiana preacherman has been peddling for three decades now: straight Americana..."

"Mellencamp sounds good, looks good. The guy clearly has it..."

"His save-the-working-man rap continues to go over with audiences in an era when that kind of talk is out of fashion..."
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02/28/2011 - Read Hays Davis' full article after the jump. Here is an excerpt: "Mellencamp's voice has developed more of a growl over the years, but he maintains remarkable vocal strength. It's an instrument that's perfectly suited to a catalogue of songs that aim to provide a voice to a cast of uncelebrated working-class figures...."
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02/28/2011 - Read Bo Emerson's full show review. Here is an excerpt: "Mellencamp paced the show with theatrical flair, backing off the tension for low-key songs on acoustic instruments (such as his lilting duet with violinist Miriam Sturm on “Jackie Brown,”) and then bringing the full band back for the floor-stomping numbers like the show opener “Authority Song...”
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02/28/2011 - Read Sam Dobrow's full show review. Here are some excerpt: "Mellencamp's show deviates from the current trends in slick techno productions. The set is a simple stage with traditional spot lighting and a simple backdrop - there is nothing techno about this show except the excellent sound system. This could easily be a set for Saturday Night Live or one of the late night talk shows. The performance is very traditional, it's pure Mellencamp..."

"the power and rhythm of his voice are so moving it brings tears to the eyes. .."
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02/24/2011 - Read John J. Moser's complete article after the jump. Here are some excerpts: "It wasn’t that Mellencamp was trying to fight age — although, by playing 24 songs in a show that lasted two hours and 10 minutes, he certainly was giving it a run. Rather, Mellencamp was refusing to let age dictate his life..."

"He played most of his hits, but often gave them a more rustic feel, starting with the opening “Authority Song,” which he recast as rockabilly. Late in the show, he played his biggest hit, “Jack and Diane,” as folk-bluegrass. He sang a shortened “Cherry Bomb” alone and a cappella..."

"none of the changes seemed to faze Mellencamp’s crowd, which, because it has aged — or at least matured — with him, seems to also have followed his musical journey, and embraced it..."
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02/23/2011 - Read Dan DeLuca Music Critic for the Philadelphia Inquirer full article after the jump. Here are some excerpts: "No matter how much he fights it, Mellencamp is still a charismatic front man and a seasoned entertainer..."

"Mellencamp, more than his white-guy generational peers, has always made music that bears the influence of Motown and other African American '60s dance music..."

"Mellencamp and band play with a bright, rhythmic dexterity that brings the music to life, even when their leader is fixating on his own mortality..."

"Bad idea. The movie, which, predictably, treats Mellencamp as if he were a god, has the deleterious effect of demystifying the concert to come. The first time I heard "Paper in Fire" on Monday, I remembered how much I liked it. The second time, I didn't like it as much..."
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