Category Archives: Concerts

Rhett Miller 10/6/18, Philadelphia

Dates: October 6, 2018

Location: Ardmore Music Hall, Philadelphia PA

Live at Ardmore Music Hall near Philly, the Old 97’s frontman showed off his impressive solo chops.

BY JOHN B. MOORE

Rhett Miller seems to be on a constant loop of record/tour/repeat.

Having just put out Graveyard Whistling, the latest from his main gig in Old 97’s last year, followed by a fairly exhaustive tour, he went to work on his soon-to-be released solo effort The Messenger (due out Nov. 9), and is already on a solo tour again before the album comes out. He somehow managed to squeeze in an Old 97’s holiday record that they will tour behind in just a couple of months, as well.

That being said, Miller was still in full entertainer mode just a few miles outside of Philly in the small, but impressively booked Ardmore Hall (a cool, intimate venue that manages to lure everyone from Fishbone and George Clinton to Willie Nile and a Hall-less John Oates). Miller commented on the venue after a fantastically-spirited version of “Our Love”.

“We were driving near the venue and I thought, well this is a really beautiful part of town, we’re so close to Philly proper, but I couldn’t figure out where we were” recalled Miller. “At that point I watched a really cute girl trying to turn left. Then this guy behind her yells out, ‘No left turn, asshole!’ Then I realized I was in Philly.”

And just like that, the crowd was enamored with Miller. It didn’t hurt that he reeled through one great song after another, pulling from across his half-a-dozen-deep solo catalog and many of the Old 97s greats. Miller managed to hold the crowd’s attention through a 20-song set, in a stripped-down setting, with just him and an acoustic guitar.

He even previewed a new song from the Old 97’s forthcoming Holiday record. The loudest singalongs came at the end when Miller played a remarkable cover of Petty’s “American Girl” that segued into the Old 97’s “Time Bomb.” If Miller is exhausted from the constant write/record/tour routine, he showed absolutely no signs of that weariness in Philly. A remarkable show from start to finish.

A ROTTEN PROPOSITION: Public Image Ltd. Live in Atlanta

At Atlanta’s Variety Playhouse on October 10, The Artist Formerly Known As Johnny Rotten brought his PiL.2018 to his Peach State fans, some of whom were no doubt on hand all those years ago when a certain British punk band made its American debut….

PHOTOS AND TEXT BY JOHN BOYDSTON

John Lydon and Public Image Ltd. are in high gear with “The Public Image is Rotten North American” tour, and in damn fine form if their 2nd stop – in Atlanta, Ga – is any indication.   Shows are selling out, and this one looked to be as well.  Check out upcoming PiL shows and dates here:  http://www.pilofficial.com/shows.html

The band is celebrating its 40 years of music with a world tour, a career-spanning CD & Vinyl box set release “The Public Image is Rotten,” and a new doc by the same name.  Current PiL lineup is Lydon, Lu Edmonds (guitar), Scott Firth (bass) and Bruce Smith (drums).

The former Johnny Rotten formed PiL in 1979 immediately following the demise of The Sex Pistols, going for a more ‘anti-rock’ avant-garde thing.  He’s been the only constant member of a band delivering 10-studio LPs over the years.   As lineups evolved, so has the music, crunching about any genre you can name into a unique and original meld.   Lydon is 62, older and ever-the-wiser.  PiL’s music still vital and relevant.  And you gotta go.

(And if you’re looking at these photos, I don’t know what the trash can is doing on stage.)

 

Follow John Boydston on Instagram – @johnboydstonphotos

 

The Melvins 8/10/18, Englewood CO

Dates: August 10, 2018

Location: Gothic Theater, Denver CO

Live at the Gothic Theater, heavy metal was a-happenin’…

PHOTOS AND TEXT BY BEN CURNETT

If heavy music was ever summed up in one performance, it happened last Friday night in Denver when Melvins played to a near-capacity crowd at the Gothic Theater in Englewood, Colorado. I’m not saying that’s what happened. Metal comes in nearly as many flavors as Japanese Kit-Kats (try the black tea if you ever get the chance; skip baked potato), so pulling it all together on one stage, much less in one show, is a task for imbeciles. Any band that tries to be all things to all people sucks outright and is evil in all the ways that are no fun at all. Not like, “Crush your enemies, see them driven before you, and to hear the lamentation of their women!” evil, but more like, “Of course corporations are people!” evil, and they can go screw.

But that’s what makes Melvins so good live: they actually do it all, heavier than pretty much everyone, and it’s mind-numbingly, otherworldly good. They’re good expressly because they don’t try to be all things to all people, evil or otherwise. They’re just their own very odd, very loud selves. and that’s good enough to be the guys to sum it all up if … IF … heavy music could ever be summed up in one performance.

Which it can’t.

Still and yet, two bass players is a pretty good start. The newest Melvins LP, “Pinkus Abortion Technician” refers both to Jeff Pinkus, longtime Butthole Surfer and second-to-newest Melvins bassist, and the classic Butthole’s album “Locust Abortion Technician,” a collection of songs that still has my vote (cast when I was 12) for scariest record of all time. Pinkus was matched on all things bass just on the other side of the stage by Redd Kross, OFF!, and actual-newest-Melvins standard bearer Steven McDonald. McDonald sang two of the songs on the setlist (Redd Kross’s “What They Say,” The Rolling Stones’ “Sway”) like a rock star, which may sound redundant but bears distinction just because he 1) wore the flashiest suit I’ve ever seen outside of a Too $hort video, and 2) Pinkus is more like something else entirely. A dragster mechanic, maybe. Some gems from the new record came out in the show (“Stop Moving Down To Florida,” “Don’t Forget To Breathe”) as well as classics from all over the board (“Honey Bucket” from 1993’s “Houdini,” “Eye Flys” from 1987’s “Gluey Porch Treatments.”) There was no speaking, if you don’t count the Moving Down To Florida parts, which you shouldn’t. Just rock. That’s all.

Buzz Ozborne and Dale Crover, Melvins’ guitarist and drummer, head and heart, areolas and spleen, know their way around a live performance. It’s as if they have some ectoplasmic connection that leads audiences around like tour guides on Mars; without their guidance, you’ll probably die. This, I strongly suspect, is the reason Buzz wears a magic robe when he plays: Melvins actually HYP-MO-TIZE audiences with thunderous drums and squelching guitar, nonsensical lyrics and brain-rattling distortion that sounds like music but is actually a spaceship engine that’s fueled by 90 minutes of your life and spits out warm, disturbingly loud, humming goo.

 

 

Stephen Malkmus and the Jicks 7/31/18, Denver

Live at the Gothic Theater – and the drums were a-drummin’…

PHOTOS AND TEXT BY BEN CURNETT

Jake Morris is really, really great at drums.

That’s where a rundown of the recent Stephen Malkmus and the Jicks show at the Gothic Theatre in Denver needs to start. Of course, the band was fun and energetic. The sound was perfect. The song selection was great for die hards and casual fans alike. Joanna Bolme hit deep dark brown notes and did a dead-on impression of Kim Gordon on “Refute.” Mike Clark filled the room with keyboards and guitars. The Malk (I’m not really a nickname guy, but that’s what I’m going with now) was the perfect song and dance man as per usual.

But the drums. The drums were something else. You get that to greater or lesser extents on the SM & t Jx studio albums, even before Morris, and the new release that this tour is supporting, Sparkle Hard, is no exception. Morris was an absolute highlight of the show; he played nothing short of perfect rock drums, a completely next-level performance. The spaces Morris left between beats were as musical and deliberate the beats themselves. His fills were graceful/drunk Dean Martin tumbles into steady but loping time signatures (“Stick Figures In Love,” “Bretheren”). His driving rhythm on longer, ramblier ventures (“Kite,” “Real Emotional Trash”) were riddled with all kinds of subtle flourishes that sprung up everywhere. On stage with a group of very talented musicians, Morris pushed the band higher and farther than their individual art would allow. He was a gift.

Live, the Jicks just get better. Four years is a long time, but 2014’s Wig out at Jagbags (and really, most everything under the SM moniker) bears repeated listening, so at least fans have had that. The live show, though, is what’s really been missing. The Malk (!) doesn’t shy away from his Grateful Dead influences, and it’s easiest/most enjoyable to see and hear on stage. “Middle America” from the new album came about halfway through the set and is the Jerry-est thing they’ve done since “Cinnamon And Lesbians” which they played a few songs earlier. Not to put too fine a point on it, they broke into a “China Cat Sunflower” teaser in the middle of “Shady Lane” during the encore, just in case you weren’t getting the vibe.

The other Pavement tune, “In The Mouth A Desert” closed the show, and was a crowd-pleaser, natch. The woman next to me almost threw herself off the balcony. But are those songs The Malk’s albatross? I hope not. Like everyone else, I love hearing them. Seeing them played live definitely takes me back, which is pretty great in its own right. At the same time, I’d be happy enough if he never played any of them again. It’s hard to remember sometimes, but SM & t Jx have been together for nearly twice as long as The Malk’s other band. It’s entirely its own thing, sans-nostalgia. To me, at this point in my life, that’s miles better, and that’s why I loved the show so much.

Put another way, I count myself lucky to have seen Pavement in Denver during the ‘90s; but I count myself much luckier to have seen Stephen Malkmus and the Jicks at the Gothic last Tuesday.

***

SET LIST: https://www.setlist.fm/setlist/stephen-malkmus-and-the-jicks/2018/gothic-theatre-englewood-co-63eb0217.html

Lithics 7/26/18, Denver

Dates: July 26, 2018

Location: Lost Lake Lounge , Denver CO

Live at Lost Lake Lounge one fine Denver evening…

TEXT AND PHOTOS BY BEN CURNETT

“Hypnotic” is the best way to describe Lithics front woman Aubrey Hornor at their recent live show at Denver’s Lost Lake. Not hypnotizing. Hypnotic, as in: she was in a trance, letting the music and lyrics convey all the night’s emotion (or non-emotion, as the case may be). It’s a strategy that works. Along with the dense, dexterous rhythm from bassist Bob Desaulniers and drummer Wiley Hickson and the persistent jangling noise from lead guitarist Mason Crumley, I imagined the show as a four-way boxing match. Each musician was in their respective corner, throwing their own version of sweet science out in the middle of the ring to dance awkwardly with its sparring partners.

The result was an FAQ of definitive punk elements coming together to make thought provoking rock that will immediately bring to mind your favorite parts and pieces of Devo, Bush Tetras, and The Fall. Lithics include more of one particular musical component than their influences: space. There was a lot of silence amid the sound in each of the 12 songs that were on the set list, some deliberately so (Still Forms, Burn On Burn) with others more subtle (Specs, Thing In Your Eye). That feeling is created by a few different Lithics touchstones. For instance, there’s no distortion or effects, for the most part. You get what you get. Also, there are lots and lots and lots of truncated notes, especially from the bass, that stop almost as soon as they start. Even when there’s not actual silence in a song, Lithics open up their music for the audience to insert themselves into. The rhythm guitar stops long enough for the bass notes to take over on Glass Of Water, for instance, before launching into the staccato punctuation of the verse’s coda. The drums fall over themselves, tumbling down over the guitars, and then jump back up into lockstep progressions.

Lithics music on stage is very true to form of their records, with the same clean tone they have in the studio. The stage just adds one more piece to a jangled, sometimes confusing puzzle that will one day explain why Lithics are so, so good.

Lithics newest release is Mating Surfaces out now on Kill Rock Stars.

 

Parker Millsap – 6/21/18, Philadelphia

Dates: June 21, 2018

Location: Johnny Brenda's, Philadelphia PA

Johnny Brenda’s was the place, and the Okie rocker was an ace! (Above photo from Millsap’s Facebook page, where you can find tour dates and more, natch.)

BY JOHN B. MOORE

The draw of Oklahoma native Parker Millsap is wildly diverse. Proof of that could be seen at a recent show at Johnny Brenda’s, a mix of college students, 30-and-40-somethings and a slew of gray-headed music fans on the other side of 60. It’s hard to imagine many other 20-ish musicians that could draw such an eclectic audience on a Thursday night.

But much like his crowd, Millsap and his band play an equally diverse brand of music that draws from Americana, Blues, Alt Country, Folk and straight-ahead Rock. Over the course of the night, they dipped effortlessly in and out of songs from Millsap’s three-album catalogue for a remarkable enjoyable set.

With Millsap’s voice a little raspy, a month into this latest tour promoting Other Arrangements, he bounded onto the stage and asked, “Want to make some noise?” From that moment on, Millsap had the crowd on his side, starting off with a trio of songs from his newest record (“Fine Line,” “Other Arrangements” and “Your Water”).

Halfway into the set, his bandmates – fiddle player, drummer and bassist – all left the stage. Millsap was joined by his opener Jillette Johnson for a duet the two co-wrote, “Come Back When You Can’t Stay,” a sublimely heartbreaking track off of Other Arrangements. Once again alone on the stage, Millsap played a few songs on his own before the band rejoined.

Throughout the night, Millsap was charming, self-effacing (at one point joking that his sweat was washing all of the product out of his hair) as he and his bandmates roared through a stellar 20-plus song set, including an inspired cover of the “Hesitation Blues,” that put the bar remarkably high for any other bands those in attendance were set to see in the coming year.

Read John Moore’s 2016 interview with Parker Millsap HERE.

The English Beat 7/15/18, Englewood, CO

Dates: July 15, 2018

Location: Gothic Theatre, Englewood, CO

Live at the Gothic Theatre, where you better have a valid ID to get in….

TEXT AND PHOTOS BY TIM HINELY

I’ve been a fan of The English Beat since I first heard the band’s records back in the early ‘80s. They had played a 21 and over club outside of Philly when I was underage and had a crappy fake ID that I didn’t think was gonna work, so I missed them.  Fast forward nearly 30 years and it wasn’t until 2011 when I finally caught the band in Portland, Oregon on a great evening.

These days it’s leader Dave Wakeling and a whole new cast of players different from the old days—the original band broke up back in the ‘80s—but honestly, if you close your eyes it sounds like the English Beat of old. Not only that, but the band has  new record out entitled Here We Go Love, the bands’ first since 1982’s Special Beat Service, and it’s a real strong collection of songs.

We missed opener King Schascha (who’s one of the members of Wakeling’s band and who loves to talk, I get it, he’s a toaster but come on, it’s Wakeling’s show ), but got there in time to push our way to the front of the nearly sold-out club. Wakeling sang and played guitar, and had a full band with a bassist, drummer, two keyboardists, a sax player and a woman singing backing vocals and two toasters. These folks are road dogs who are always out playing gigs and know what they’re doing.

They opened up with “Rough Rider” and continued to play some of their early ‘80s classics, including “Twist and Crawl,” “Hands Off…She’s Mine,” “Save Ir For Later,” “Mirror in the Bathroom,” “Ranking Full Stop” and they even pulled out the old General Public chestnut, “Tenderness” which sounded fabulous; unfortunately no “I Confess” but hey, you can’t have everything, right?  Off the new record we heard “The Love You Give” and (the politically charged?) “How Can You Stand There.” No encore, but we didn’t need any, the band played their asses off.

Despite King Schascha taking center stage much of the time, the band was really enjoyable and what I get from Wakeling is that the guy still seems to truly enjoy what he is doing. Imagine that. The guy just has this infectious energy about him and it comes out in his music and when he chats with the crowd. They tour all of the time so if you’ve never seen them before plan on it next time. You’ll get your money’s worth.

 

 

 

Car Seat Headrest + Naked Giants 7/28/18 Englewood, CO

Dates: July 28, 2018

Location: Gothic Theatre, Englewood, CO

Live at the Gothic Theatre and nearly ready to take over the world.  

BY TIM HINELY

I had missed Car Seat Headrest the two previous times they came to town—at least the times I was aware of—and did not want to miss him this time. Assured myself I’d be there and I made it; an Uber driver refused me so I threatened my 86 year old neighbor into driving me down.

Opener Naked Giants are a trio from Seattle who are a lot of fun and also act as part of Car Seat Headrest’s (aka Will Toledo) backing band. These guys had a ton of energy and could play the hell out of their instruments; as one point my pal turned to me and said that their last song “sounded like it combined three different Pixies songs.” The guitarist/vocalist looks like he could’ve been a member of the Surf Punks, while the drummer was completely dialed in, and the bassist/vocalist was the chatty one, welcoming the crowd, calling a few knuckleheads out, and generally having a good time and making sure we were fully entertained. We were. They played a handful of songs off their latest LP, Sluff (New West Records), including the title track and “TV” among others. Catch ‘em next time they’re in town.

Will Toledo and company hit the stage at 10:15 PM and there were seven folks on stage, Count ‘em, 7. In addition to the three Naked Giants, he had another guitar player, a keyboardist, and a second drummer; Toledo just handled vocals. With all of the positive press these past few years, Toledo’s confidence has likely grown by leaps and bounds from when he first appeared on the scene. On stage, from his moves, he comes across as part Nick Cave and part long-distance runner

They played a good mix of tunes off their records, including concert opener “Cosmic Hero” right into “Cute Thing” right into “War is Coming (if you want it).” A little later in the set the tossed out a medley of “Sober to Death”/”Powderfinger”/”Don’t You Worry ‘bout a Thing” (I heard the “Powderfinger” part and went a little nuts… love that Neil Young song).

They ended the set with the jittery, soaring “Nervous Young-Inhumans’” and then came out for one encore, playing the over-10-minutes-long, epic “Beach Life-in-Death” (off 2011’s Twin Fantasy) and called it a night.

The crowd loves this band. The fan base is dedicated, and with good reason: The songs are strong, and Toledo is basically one of them. I like ‘em a lot more than I thought I would, and really my only beef at all was the semi-obnoxious strobe light show. Retrain the lighting guy, hire Toledo a personal trainer to stretch (pretty soon he’ll have the Bob Pollard high kicks down pat), and this band will be ready to take over the world.

 

 

 

 

Tops in Waikiki: The Rock-a-Hula Extravaganza

Aloha From Hawaii! BLURT’s Travel Desk Editor heads to Waikiki for plenty of surf ‘n’ turf ‘n’ The King… (photos follow the story – Hashtag: #Elvis). Incidentally, Ms. Gaar has written previously about Hawaii – and Hawaii-related Elvis matters – for the magazine. Check out “Waikiki After Dark” and “Dancing Barefoot: The Great Waikiki Mai Tai Taste Off,” should you dare.

BY GILLIAN G. GAAR

I’ve been a fan of the Rock-a-Hula show in Waikiki since it opened seven years ago, and have seen it in its various incarnations. Initially, this tribute artist show (created by Legends in Concert Las Vegas) simply presented sets by four different impersonators. In 2014, the show boosted the Hawaiian quotient, and made it a more lavish production, with multi-screen projections, decorative sets, and dancers. They’ve recently given the show another facelift, cutting back on the tribute artists, and adding even more of that Hawaiian spirit.

I was offered the opportunity to check out the show again, choosing whatever package I wanted. I eagerly accepted, choosing the top package, the Green Room “Ultimate Experience.”

This is the package to choose if you want to go all out, and get the very best seats in the house (there are also cheaper options; I’ll get to those later). The Green Room package spares no attention to detail from the moment you check in, when you’re given a backstage pass to wear around your neck. Green Room attendees are welcomed into the Royal Hawaiian Theater before anyone else, escorted down the red carpet while hula dancers perform. You’re taken to — where else? — the Green Room, where you’re greeted by one of the evening’s tribute artists (the night I attended, it was Michael Jackson), who poses for a picture with you (a free print is included in the package). The Green Room is supposed to be an homage to the tropical themed “Jungle Room” at Elvis Presley’s Graceland mansion, which, well, wasn’t green. Never mind. There are glasses of sparkling wine awaiting you, along with hors d’oeuvres. Get snacking!

You’re then taken on a backstage tour, getting an idea of what the dancers deal with when they have to race through the small corridors between numbers. We were allowed to try on the Tahitian headdresses the dancers wear (very heavy!), and you get to pose on stage with the huge Taiko drum. Next, you arrive at your stageside table, where you’re served a four-course meal, including beef tenderloin and wild Alaskan salmon and Maine lobster with your salad. Two free drinks as well. Everything was delicious. And now, on with the show….

Rock-a-Hula is a multi-media production; there are screens on both sides of the stage, and one at the rear. It’s also very much a live show; the band is placed right on stage, and none of the performers are lip-syncing. One fun element is how the film footage is used to underscore the live action on stage. The show opens with footage of the SS Lurline arriving in Honolulu, illustrating how most tourists visited the island before air travel took off. Then a large prop ship comes out on stage and the dancers re-create the kind of pier-side hula that greeted the new arrivals; a surfer even hangs from the ceiling, in a Cirque du Soleil touch. A panorama of images on the screens highlight Hawaiian legends of the past, like singer Alfred Apaka (some explanatory text on these pictures would be useful for those who might not immediately recognize the performers).

It all builds to the arrival of the first tribute artist to appear, Elvis Presley. The King is played by Rock-a-Hula veteran Johnny Fortuno, who handles the ’60s and ’70s Elvis eras with ease, starting out in the outfit Elvis wore while performing “Rock-a-Hula” in his first Hawaiian film, Blue Hawaii, then graduating to a jumpsuit, for his homage to Elvis’ 1973 Aloha From Hawaii satellite broadcast. Among the well-known stuff (“Hound Dog,” “Can’t Help Falling in Love”), there’s also a rarity; “Slicin’ Sand,” from Blue Hawaii, a song I don’t believe I’ve ever heard an Elvis tribute artist perform. Fortuno also gets up close and personal with audience, passing out scarves, kisses, and handshakes to the faithful during “Suspicious Minds.”

Michael Jackson (as performed by Jason Jarrett) is the only other tribute artist featured in the show. Aside from a quick nod to his Jackson 5 past (“I Want You Back”), it’s mostly the latter day Jackson that’s on display: “Shake Your Body,” “Thriller,” “Billie Jean” (complete with moonwalking). It’s a set that’s as heavy on dancing as it is on singing, and Jarrett has the moves down.

Though the show has no underlying narrative, there is an unifying theme; Rock-a-Hula is meant to take you on a “Hawaiian Journey,” the idea of a trip being referenced from that first footage of the SS Lurline. There are more dance numbers, with the energetic troupe performing to a medley of surf tunes, as well as traditional Hawaiian dancing (the Tahitian dancing is especially thrilling). The fire knife dancing is another highlight. No, it’s not a knife; think of it as a torch, or a baton, lit at one or both ends, and then vigorously spun around.

Also new to the show are spots for a local singer (who will rotate; Hirie was the performer when I attended). Hirie was featured in the show’s opening, and throughout the rest of the performance; in one moving sequence, when footage of Hawaiian legend Israel Kamakawiwoʻole was shown while his medley of “Over the Rainbow”/“What a Wonderful World” was played, the song segued into Hirie performing the final verse live. The show comes to a heartwarming conclusion with the entire cast on stage, leading everyone through the chorus of “Aloha ‘Oe,” written by Queen Lili‘uokalani (Hawaii’s last ruler). Afterwards, everyone’s welcome to meet the cast in the lobby, where they happily pose for photos and sign autographs.

 It’s a lively and engaging show, and making it more of a theatrical production than it was in its original incarnation has definitely made it more exciting. But in this latest iteration, I felt the tribute artists were a bit short-changed, with their spots cut back to allow for more dancing and the local singer.

Elvis in particular I felt was underused. If you want to make the show more Hawaiian-flavored, why not draw on more of the songs he performed in his other Hawaiian films (Girls! Girls! Girls! and Paradise, Hawaiian Style)? Including Hawaiian-born songwriter Kui Lee’s “I’ll Remember You” would also be a good touch during the “Aloha From Hawaii” sequence (the concert was a benefit for the Kui Lee Cancer Fund). It felt like Elvis was in and out too quickly. And while I enjoyed Hirie, since she wasn’t playing a character herself, it made the show feel like a bit of a mish-mash. Is it a tribute artist show? Or a Hawaiian production where Elvis and Michael Jackson drop in for a couple of numbers?

It’s still a show I highly recommend. It’s just too much fun to pass up. And there’s so much going on, you can’t properly take it all in, in one viewing. That’s why I look forward to seeing Rock-a-Hula again.

Now, about those other ticket packages. The theater seats 750, with most seats in the upper auditorium (which they call the mezzanine), and Green Room and Stageside VIP packages seated at tables down front. The cheapest package is the Rockin’ Show ($69 adult/$41 child) which gets you a seat in the rear part of the mezzanine. I’ve sat in a variety of places in this venue and the view is good wherever you sit. But of course it’s more exciting to get as close as you can to the performers, so if you don’t want to do one of the deluxe packages, I recommend the Luau package ($109 adult/$66 child), which, you’ve guessed it, includes a very tasty luau buffet, with all the luau staples (roast pig, hulihuli chicken, lomilomi salmon), a mai tai, and better seating in the mezzanine. The Stageside VIP ($149 adult/$89 child) includes a reception before you’re seated at your not-quite-as-good-as-the-Green-Room-seating-but-still-pretty-good table, where you’re served the same dinner as the Green Room package, and you get two free drinks. The Green Room package isn’t that much more ($185 adult/$111 child), and consider that you also get an extra drink (that glass of sparkling wine in the Green Room itself) and a free souvenir photo (which otherwise costs $25). Depending on your budget, it might be worth the upgrade.

Tip: Be sure and take some time to explore the lobby, which features various rock memorabilia. There’s also a bar, and you’re allowed to take drinks into the auditorium. Want a scarf from Elvis? The stageside seating, or the front row and aisle seats of the mezzanine, give you the best chance.

***

 Jumpsuit Elvis (Johnny Fortuno) sends you plenty of Alooooooha!

The ever-energetic dance troupe of Rock-a-Hula

All hail the awesome fire knife dancer!

The swanky Green Room. Sparkling wine and snacks to spare.

Local non-character performers are now part of the Rock-a-Hula show. Pop-reggae artist Hirie was one of the rotating performers.

Jason Jerrett cops all the right moves as Michael Jackson.

Can you feel it? Michael Jackson (Jason Jerrett) gets it on with a Rock-a-Hula dancer.

Maine lobster, flown all the way to Waikiki — just for you.

Your humble correspondent and Johnny Fortuno, après the show.

Johnny Fortuno in action as the Blue Hawaii-era Elvis.