2016.08.28 - Blabbermouth - Axl Rose-Fronted AC/DC Kicks Off U.S. Tour In Greensboro, North Carolina (& related articles)

Axl Rose-Fronted AC/DC Kicks Off U.S. Tour In Greensboro, North Carolina

The rescheduled dates of AC/DC's North American tour — which are the band's first concerts here with Guns N' Roses singer Axl Rose on lead vocals — kicked off Saturday night, August 27 at the Greensboro Coliseum in Greensboro, North Carolina.

The setlist for the show was as follows:

01. Rock Or Bust
02. Shoot To Thrill
03. Hell Ain't A Bad Place To Be
04. Back In Black
05. Got Some Rock & Roll Thunder
06. Dirty Deeds Done Dirt Cheap
07. Rock 'N' Roll Damnation
08. Thunderstruck
09. High Voltage
10. Rock 'N' Roll Train
11. Hells Bells
12. Given The Dog A Bone
13. If You Want Blood (You've Got It)
14. Live Wire
15. Sin City
16. You Shook Me All Night Long
17. Shot Down In Flames
18. Have A Drink On Me
19. T.N.T.
20. Whole Lotta Rosie
21. Let There Be Rock

Encore:

22. Highway To Hell
23. Riff Raff
24. For Those About To Rock (We Salute You)

The "Live Wire" airing marked the first time since 1982 that AC/DC performed the song, which originally appeared on the band's 1975 album "T.N.T.".

https://blabbermouth.net/news/axl-rose-fronted-acdc-kicks-off-u-s-tour-in-greensboro-north-carolina-video

Review of the show in Greensboro; Music Recall Magazine, August 28:
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AC/DC Is Definitely Not A Bust In Greensboro

AC/DC
August 27, 2016
Greensboro, NC
Greensboro Coliseum

Reviewed by Joseph Hett

AC/DC finally performed their long-anticipated show in Greensboro, NC at the Greensboro Coliseum Saturday night. This was the first stop on their run of makeup shows for the Rock Or Bust Tour in the United States. This show was originally scheduled for March 14.

We will not elaborate on the recent changes of AC/DC’s lineup, you can go elsewhere for that. Yes, it is very unfortunate how it all came about, but it is what it is. This lineup of AC/DC is working as a cohesive unit and proving naysayers wrong with every show.

Anticipation swirled around as the sold-out crowd entered the arena while Rolling Stones classics blasted through the PA system. Throngs of flashing devil horns could be seen throughout the massive venue.

The colossal stage setup included a long runaway that ran into the center of the arena. If it was seen overhead, it might appear to be a phallic symbol, which is right up AC/DC’s innuendo alley.

After a brief intro video, Angus Young, Cliff Williams, Axl Rose, Chris Slade and Stevie Young waltzed out on the stage and cranked out the song “Rock Or Bust,” from their newest record also called “Rock Or Bust.”

Axl was dressed in his usual garb, while wearing a shirt with what appeared to be a pill bottle graphic on it. As usual, Angus came out in his signature school boy outfit.

They kept the rock going with “Shoot To Thrill,” “Hell Ain’t A Bad Place To Be” and “Black In Back.”

Rose was himself, which is a good thing. He did not try to imitate previous AC/DC singers. But at times, he sounded just like Bon Scott during the older material. Because his vocals are more suited for the Bon era material.

The classics kept coming with “Dirty Deeds Done Dirt Cheap,” “Thunderstruck” and “Hells Bells,” as the huge bell lowered from the rafters.

Stevie Young and Cliff Williams stayed glued to the opposite sides of the drum kit all show long chugging riffs. They did walk out to provide background vocals during their respective times.

AC/DC relied heavily on the Bon Scott era nearing the end of the show with “If You Want Blood (You Got It),” “Sin City” and “Live Wire.” It was a historic night because they played “Live Wire” live for the first time since 1982. Some of the hardcore fans in the crowd knew the significance and others just continued to head bang without knowing.

There were no slow, bluesy songs all night long. During previous AC/DC tours, they would play something smooth like “The Jack,” all while Angus did his little stripping routine. Angus kept his clothes on the entire night. He was probably trying to prove a point that he was there to rock instead of providing theatrics.

The AC/DC favorites kept flowing with “You Shook Me All Night Long,” “T.N.T” and “Whole Lotta Rosie,” where the massive inflatable Rosie appeared onstage.

During Angus’ signature extended solo during “Let There Be Rock,” Stevie Young could be seen breathing a sigh of relief and resting his back on the amplifiers. While other members of the band were catching their breath, Angus kept the energy going. He duck walked across the stage and ran up and down the runway. He reached the end of the runway and played extended solos to each side of the arena. He was soon lifted up on a pedestal as he laid down and spun, all while riffing away, as confetti shot out of cannons and blinded everyone from this magnificent sight. It was now time for the encore.

After a brief break, Angus rose up on a platform from beneath the stage. He suffered a little stop and go action that wasn’t planned, while wearing his signature devil horns, and then started “Highway To Hell.” “Riff Raff” was next up and the cannons were brought to full attention for the closer, “For Those About To Rock (We Salute You).”

It was an amazing two and a half hour show and well worth the wait from March. It was basically the Angus Young show all night long (which can also be used to describe every AC/DC show ever). Axl Rose was a very good choice to fill in to finish the tour. At first, it seemed like an odd choice. But once the fan filmed videos hit the internet, the Axl fronted AC/DC sounded pretty damn good. With bassist Cliff Williams retiring and all of the recent turmoil, AC/DC’s future is unclear. If it is the end, AC/DC went out on top in Greensboro.

https://www.musicrecallmagazine.com/concert-reviews/concert-review-acdc-in-greensboro-nc/

Another review, Volume Magazine Blog, same date:
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Axl Rose fronted AC/DC leaves Greensboro thunderstruck

By Jared Allen

With Brian Johnson home nursing hearing problems – 46 years in front of Angus Young’s riffs blaring through a wall of amplifiers will do that to you – AC/DC enlisted Guns N’ Roses legendary frontman Axl Rose to lead the Aussie’s vocals on their “Rock or Bust” world tour.

A near sold out Greensboro Coliseum, donning red devil horns praised and bowed to the superstars in front of them. Axl – decked in his signature red bandana and diamond pendants swaying from his neck hardly hiding his erotic t-shirt – shined and presented his renowned squealing vocals while Angus – dressed in his famous blue velvet school boy outfit – shred on his black Gibson SG.

The two showman put on a remarkable performance, but it was Angus’ antics that stole the show. Between squirming on the floor, shuffling down the catwalk and ripping off his tie which he used to grind out guitar riffs, the 61-year old was jaw-dropping. It’s impossible not stand in awe as the co-founder of AC/DC mugs the audience while playing an incomparable 10-minute guitar solo.

AC/DC didn’t piss about and let their performance do the talking. Pyrotechnics spewing from the stage, a giant, inflatable “Rosie” and a train to hell set the mood while an all-encompassing 24-song set fulfilled the audiences’ wishes. From “High Voltage” to “Hells Bells” (which featured a giant bell that swung and clang from the ceiling) to “Rock or Bust,” AC/DC touched ’em all.

They even unveiled a once-in-a-lifetime treat for their longtime fans. The Aussies dusted off “Live Wire” from their debut album High Voltage and played the track for the first time since 1982. Fans welcomed the addition with massive praise and struggled to remain calm once they heard the tune. Perhaps AC/DC felt they owed Greensboro something special after rescheduling their original show date, further elevating North Carolinian’s anticipation.

Prior to heading out on tour, Rolling Stone asked Angus if this was the last hoorah for the hard rock band that’s captivated millions for over four decades.

"At this point, I don’t know. We were committed to finishing the tour. Who knows what I’ll feel after? When you sign on and say, ‘I’m gonna do this and that,’ it’s always good to say at the end of it, ‘I’ve done all I said I would do.’"

It surely didn’t feel like AC/DC’s swan song. It wasn’t a night of sorrow or sadness, but instead a night of thrill with masters of the genre. AC/DC gave Greensboro a night to remember and fans were left speechless and in amazement after what they saw – and heard.

“That was amazing! Maybe we’ll be able to hear by Monday!”

https://web.archive.org/web/20160829004046/http://volumemagazine.net/music/axl-rose-fronted-acdc-leave-greensboro-thunderstruck/

Official recap video from Greensboro:

Greensboro, August 27.

Credit: Joey Kirkman Photography







Unknown credit:

Second show; Ft. Lauderdale, Florida, August 30:

Atlanta, GA, September 1:













Steven Tyler attended this show:

Review of the show in Atlanta; Rock Revolt, Sept. 4, 2016:
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LIVE SHOW REVIEW: AC/DC – Atlanta

By Valerie King

Before I begin, I have a confession to make: I am one of the biggest AC/DC fans on the planet. Long before I was permitted to go to concerts, I remember cranking every album from High Voltage to Highway To Hell with my older brother over and over – until he made me start kicking in my babysitting money to replace the albums we wore out. I did not mind; not one little bit. One of the first concerts I ever attended was the For Those About To Rock tour and I’ve seen AC/DC too many time to count all around the world since then. So it was a monumental event to be able to hear their songs performed live, perhaps for the last time as AC/DC, on the same hallowed grounds where I saw them for the first time at The Omni which was demolished in 1997, and Philips Arena, was constructed on the site.

Adding to the excitement was the electricity in the air emanating from the flock of fans – even blocks away from the arena. Everyone was FIRED UP and ready to rock! It’s been quite a while since I’ve seen people displaying their totally unabashed euphoria at going to a show. The streets were filled with hoots, hollers, singing and laughing as people of all ages, colors, shapes and sizes practically floated on air towards the venue. In just a four-block walk, we met people in from all over the country: groups of friends since high school making the pilgrimage one more time, along with a slew of moms/dads with their children and even the grandchildren going to see AC/DC together as a family.

What clinched it for me though was when I realized that I was smiling like an escaped mental patient off her meds, and for the first time in a very long time, was truly happy to do what I do (it’s easy to become a little jaded after 25+ years). Then, I looked over at Chad Lee (veteran rock photographer that has shot literally tens of thousands of shows) and he was practically skipping – beard bouncing/tats dancing, all while carrying about 50 pounds of camera equipment like it was a feather – and he said, “Holy shit! I feel like a 12-year-old kid again going to concert!” We all just KNEW that this was going to be a magical night of musical memories that will never be forgotten, and we were all 100% correct.

Even with the near-skipping and then full-on running, we were still about four minutes late backstage for Chad to photograph the opening TylerBryantAndTheShakedown_Header1-1024x518support band, Tyler Bryant & The Shakedown, which truly sucked for us, but we were able to catch most of their set – and they were everything I thought they’d be live. This young foursome based out of Nashville/Texas is on the top of my list for potentially becoming a truly iconic band of the future. Don’t get me wrong, they are no “newbies” having toured with and/or opened for the likes of Guns N’ Roses, Aerosmith (guitarist/backing vocalist for TBShakedown, Graham Whitford, is the son of Aerosmith’s Brad Whitford), Jeff Beck, ZZ Top, and B.B. King. They have been the original opening support act for AC/DC pretty much through this whole tour and just ended a run on Zakk Wylde’s solo summer tour leg to go back out with AC/DC.

As if that isn’t enough, these guys are kicking ass in between AC/DC dates with their mostly sold-out solo “Lounge Tour” (check dates here) in support of their latest 6-track EP, The Wayside, on John Varvatos Records/Republic Records. While watching Tyler Bryant (lead vocals, guitar), Graham Whitford (guitar, backing vocals), Noah Denney (bass, backing vocals) and Caleb Crosby (drums) ooze their soulful rock yummy all over the AC/DC crowd to mass approval, it occurred to me that perhaps there is indeed hope for the future as the legends that we grew up with disappear one by one. My money is on Tyler Bryant & The Shakedown. Do yourself a favor and check them out if you haven’t yet.

Axl Rose began his journey with AC/DC in Atlanta back in March of this year when he flew in to audition for the role that every vocalist in the world would give a left nut for – singing lead for one of the most iconic rock and roll bands in the world! Rose and the band spent the better part of a week at Avatar Studios rehearsing after he got the gig. So, it was apropos that Rose acknowledged that time in his life after the opening song, “Rock Or Bust” by addressing the crowd with something like, “Hello Atlanta. This is where this whole thing began for me (gesturing to the band) and it’s so great to be here on this stage with them tonight – now let’s rock!” (paraphrased) Indeed, Mr. Rose, proceed…

After launching into “Hells Bells” it was abundantly clear that one thing is certain: Axl Rose was the perfect choice. He possesses one of the most diverse and insanely high vocal ranges in the world. For the record, I was not one of the fans that lost their friggin’ minds with the announcement that Rose would be singing lead vocals after Brian Johnson stepped down in February due to hearing issues. As a matter of fact, I thought, “Hmmm…this could be totally badass!” It was actually a major distraction for me during the Guns N’ Roses show here in Atlanta on July 26, 2016 because all I kept thinking was, “Damn, he (Rose) sounds amazing! I seriously cannot wait to see him singing with AC/DC!”

Without starting any crap, I will say that to me, Rose seemed way more relaxed playing with AC/DC than with Guns N’ Roses (although that was one helluva show too). He was smiling. He was in his teenage rock glory and rarely left the stage, preferring to stay on deck in front of a bank of Marshall amps and dance his ass off while watching his self-professed idol, Angus Young, rule supreme! He didn’t try to steal the show. He didn’t try to sing like Bon Scott or Brian Johnson. He sang like MF Axl Rose – to the most iconic AC/DC songs in history. And he nailed it.

As a matter of fact, he surpassed all expectations. Unless I missed it, I cannot recall an “off note” whatsoever. To list every song they played would turn this into even more of a novel than it is (full set list below). Suffice it to say that if you sold your tickets or asked for a refund when you learned that Rose was Angus Young’s choice to sing for the band as guest vocalist – you screwed up. Big time.

Cliff Williams has always been one of my favorite bassists. He was spot on, as usual. Stevie Young on rhythm guitar and Chris Slade on drums were in perfect synchronicity and were the delicious, perfectly-baked-cake foundation for the frosting and cherry on top – Mr. Angus Young.

I’m a bit at a loss as to what to write about Angus Young that has not already been written. He is undisputedly one of the most accomplished2 ac dc 9-1-2016 atlanta Phillips arena rock revolt magazine chad lee photography-1901 guitar players of all time, but at 62 years old, I would like to suggest that perhaps he’s an alien or a wizard. Perhaps an alien sorcerer? Because I’ve been watching him perform live since he was in his 20’s and except for a smidgen lower on his jumps – the man simply cannot be human! My God…he goes and he goes – like the Energizer Bunny powered by Marshall. Just when you think he has to be tired and is going to tone it down and perhaps have a nice cup of tea offstage and let one of the boys do a solo – he is OFF down the catwalk doing the “Angus” – then, BAM! – he’s soaring into the sky, wailing out riffs like his very soul depends upon it. Perhaps it does. This is what keeps him young (no pun intended) and if this show was any indication, I would wage a decent amount of money that Angus Young is a LONG WAY from being done. We shall see. (Check out Angus’ seven-minute guitar solo shot by my high school friend, Marc Blount, if you don’t believe me!)

One kind of “cool/strange” thing that happened was that besides the other “who’s who” in the music industry that were in attendance, Steven Tyler showed up at around 10:30 to watch the show without anyone noticing. He just slid in the sound board area and watched with deep interest. Tyler had performed earlier at the Cobb Energy Center and according to the reviews, he played for over 90 minutes. So, unless he is an alien wizard as well, he must have come via helicopter (I’m kind of betting on the alien wizard thing).

Some phone footage video shot by Chad Lee during “TNT” that pans twice to Steven Tyler sitting at sound booth. What was “strange” about this all was that it was announced shortly after Tyler’s arrival that “a very special vocal guest would be coming out to sing in a bit” and I assumed they had to be referring to Tyler (who inducted, then performed with AC/DC at the Rock and Roll Hall of Fame in 2003). But it never happened. Unless there was someone bigger than Steven Tyler (besides Axl Rose) in the building, but I can’t imagine who that would be or why it never came to fruition. Just one of those moments when I thought, “If Steven Tyler comes out and performs with AC/DC someone is going to have to resuscitate me!” Perhaps something to look forward to in the future, I hope.

I would be remiss to not mention the other “star” of this show: the lights, sound and pyrotechnics. To say they were jaw-dropping would be an understatement. From the staging to the Lighting Director, to the Sound Engineer that still has my ears ringing two days later to the “Blowing Up Shit/I Make FIRE!” guy and everyone on the production team of AC/DC – we salute you! It takes an Army to roll out this kind of show and you guys are the best at what you do. You won the war in Atlanta. We surrendered by the end of the first song!

Almost three hours and 25 songs later, there was nary a person that could have left that show thinking anything other than, “Holy Shit! I feel like a 12-year-old kid that just went to a concert!”

AC/DC only has a few dates left on their tour. Next up is Columbus, Ohio (9/4/2016) and then six more shows (see remaining tour dates here). I would rate this as one of my top five shows of ALL TIME, so I highly suggest that you lock up your daughters, lock up your wives, grab your best friend and run for your life – to one of the few remaining shows of AC/DC!

http://rockrevoltmagazine.com/live-show-review-acdc-atlanta/

Another review for the Atlanta show; Society Of Rock, Sept. 9:
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AC/DC With Axl Rose Perform In Atlanta, Georgia

Crushin’ It!

On September 1, Axl Rose once again took the stage as AC/DC’s temporary frontman by belting out some of their classics in front of the crowd at the Philips Arena in Atlanta, Georgia. And he is crushing it. It doesn’t matter what the haters say, Axl has proven time and again that Brian Johnson’s shoes ain’t too big to fill. And while we are missing Brian and his intense stage persona, we don’t mind listening to Axl take on AC/DC classics.

Angus Young still isn’t sure where the band will go after the scheduled tour dates and Axl has expressed his interest in continuing his frontman stint. But we’ll never know whether they will continue or add more dates.

https://societyofrock.com/acdc-with-axl-rose-perform-in-atlanta-georgia/

Columbus, OH, September 4 (second picture by "Stiff Competition" at mygnrforum):

Review of the show in Columbus; The Columbus Dispatch, Sept. 5:
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Concert review | Axl stands in well, but guitarist Young soars for AC/DC

Curtis Schieber, For The Columbus Dispatch

If rock ’n’ roll music school included a course titled “Riffology 101,” it might include the study of a family tree beginning with Chuck Berry, following through Keith Richards and branching to AC/DC’s Angus Young. It could include a couple off-shoots, including one for the Who’s Pete Townshend.

A bunch of all of that was heard Sunday night, as AC/DC held court in the Nationwide Arena, sending shock waves of primal rock electricity through a packed house.

The hall contained a great many fans wearing lighted plastic red horns, which of themselves added little to the experience. When the little red lights swayed like a sea of lighted jellyfish, though, it was plain the electricity had connected.

After more than 40 years of history, a songbook of hits and many personnel changes, the news flash—and the reason for the rescheduled gig last night instead of its original spring date—was the hearing loss of singer Brian Johnson and his replacement this fall with Guns N’ Roses lead singer Axl Rose.

Rose was in better form than he’s been for a while, if not trim, certainly healthy and in fine voice. His delivery of the Australian band’s many hits were full of screaming soul and high-pitched energy, especially songs such as “Rock ’n’ Roll Damnation” and “Got Some Rock & Roll Thunder,” the latter being only one of two selections played from AC/DC’s newest release, “ Rock Or Bust.”

The real story, however, was the same as it has been for the band’s entire career: founding guitarist Angus Young and his unforgettable, if simple, riffs. If Axl’s vocals weren’t present on many of last night’s tunes, the effect may have been just about as powerful.

That said, Axl augmented all of it, especially the songs that not only included Young’s greatest riffs, but powerhouse grooves from the band’s rhythm section, which included drummer Chris Slade, bassist Cliff Williams and rhythm guitarist Stevie Young.

“Thunderstruck,” one of the evening’s highlights before an early deadline called this reviewer, was a towering confluence of riff and groove, an overwhelming combination of a grinding guitar part with a gigantic beat.

Even when the beat was just hard, though, Young’s riffs defined the night. From echoing the Who on more than one song to providing the blueprint for songs by the likes of Van Halen, his play accomplished a workmanlike function, providing the soul for some great rock ’n’ roll.

https://eu.dispatch.com/story/entertainment/music/2016/09/05/concert-review-axl-stands-in/23879500007/

Cleveland, September 6:

Review of the show in Cleveland; The Cleveland Plain Dealer, Sept. 7:
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Angus Young and Axl Rose-fronted AC/DC deliver a spectacular marathon show

By Chuck Yarborough, The Plain Dealer

CLEVELAND, Ohio - Mark Twain, had he survived, would be an AC/DC fan. Or at least the author of what should be the band's new motto: The reports of my death have been greatly exaggerated.

For nearly 21/2 hours Tuesday night at Quicken Loans Arena, Angus Young and his surviving bandmates - superbly aided by fill-in frontman Axl Rose - gave testimony to the fact that MTV's Butt-head needn't toss his favorite band's T-shirt.

That's a hope, anyway. When this Rock Or Bust tour ends, bassist Cliff Williams will retire. With a severe hearing ailment sidelining singer Brian Johnson, Young's brother (and band co-founder) Malcolm fighting a losing war with dementia and ex-drummer Phil Rudd a persona non grata over drug charges, Angus will be the only original member of the band.

That won't be the first time it's happened in rock 'n' roll, and when it does, it's usually a sign to let it go.

Not. This. Time.

Angus Young is a force on the Gibson SG guitar. At 61, he's as nimble of foot and finger as he was when he and Malcolm started the band back in 1973. And the man must be made of something akin to human titanium: Twenty-one songs into the marathon show in which he and the whitest, skinniest legs in rock 'n' roll duckwalked, skipped, ran and otherwise cavorted onstage in his trademark schoolboy outfit (this time, a lovely shade of royal blue, in velvet), he delivered a nice little solo to close "Let There Be Rock.''

And by "little,'' I mean a 20-minutes-PLUS solo that was remarkable not for its duration, but for its quality. It was, in a word, enthralling.

AC/DC fans have known all along that Young is a special performer, both with his skill on the ax and in his onstage antics, which were as delightful and playful as his outfit. We just needed this little reminder.

And the songs themselves - "Back in Black,'' "Dirty Deeds Done Dirt Cheap,'' "Hells Bells,'' "You Shook Me All Night Long,'' "T.N.T.'' and the rest - long ago reached iconic status.

Going into it, every one of the 18,000 or so who packed The Q knew the biggest question was gong to be Rose.

The Rock & Roll Hall of Famer - inducted in 2012 with his Guns N' Roses bandmates even if he himself boycotted the ceremony - more than rose to the occasion. His trademark soaring vocals weren't Johnson, and they weren't they original AC/DC singer, the late Bon Scott. And that's OK, because it was like a natural progression for the band, segueing from Scott to Johnson and now Rose.

Here's the thing: It didn't sound like GNR covering AC/DC. Rose meshed perfectly with Young & Co. on just about every song, including "Shoot to Thrill,'' "High Voltage,'' "Live Wire," "Sin City'' and, of course, "Highway to Hell.''

Even better - and maybe a bigger surprise - was Rose's willingness to make it clear that this is Angus Young's band, not his. Rose didn't just share the spotlight; he turned the high beam on Young.

A frontman by the very nature of the job is the focal point of any concert, and Rose is hardly the shrinking-violet type. But his performance Tuesday night - his deference to Young AND to the AC/DC singers who came before him - raised him to new levels in the eyes of many who were at The Q.

Axl Rose, you rocked, and we salute you.

Texas-born and Nashville-based Tyler Bryant & the Shakedown opened the show with a brief set that showcased Bryant's skills on the guitar and his connection to the blues, especially with a rocked-up version of Muddy Waters' "Got My Mojo Working.''

https://www.cleveland.com/entertainment/2016/09/angus_young_and_axl_rose-front.html#incart_gallery

Another review of the show in Cleveland; Cleveland Scene, Sept. 7:
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Axl Rose Capably Leads AC/DC's Triumphant Return to Town

By Jeff Niesel

Earlier this year, AC/DC singer Brian Johnson had to leave the band’s U.S. tour after being advised by doctors that he risked total hearing loss if he continued to perform live.

The group courted controversy when it recruited Guns 'N’ Roses singer Axl Rose to take his place; purists objected to the band’s decision to continue the tour without Johnson.

And yet, Rose, who admittedly had his hands full with a GNR reunion, seemed like an appropriate choice. He’s got one of rock’s most potent voices and the blues-based hard rock band certainly appears to have influenced GNR.

When Rose walked onto the stage last night at Quicken Loans Arena, he appeared to be an odd fit. Decked out in torn jeans, cowboy boots and a tight-fitting black T-shirt, he looked like he stole a few items out of Neil Young’s wardrobe. But the singer capably conducted himself from the start, effectively screeching his way through “Rock or Bust,” the title track from the band’s 2014 album. You can see a slideshow of photos from the concert here.

Rose even seemed to borrow some of Johnson’s mannerisms, prowling the stage with a measured intensity and gesturing calmly with his hands as he belted out lyrics about death and damnation. He even stepped aside on numerous occasions to let diminutive guitarist Angus Young, decked out in a bright blue velvet schoolboy outfit, skip his way to the front of the stage to deliver riff after memorable riff of crunchy power chords. Sometimes, he'd just hang out by the drum kit, stomping his feet and playing air drums along to the tunes. He often appeared to be having as much fun as the fans that filled about three quarters of the arena.

Early on, Rose and Co. delivered a litany of hits, including “Back in Black,” “Thunderstruck” and “High Voltage.” Rose sounded appropriately demented in tunes such as “If You Want Blood (You Got It)” and “Dirty Deeds (Done Dirt Cheap),” appropriately playing up the latter’s spoken word section like he was some kind of serial killer who takes a little too much pleasure in instruments of torture. And the band delivered "Hells Bells" with a giant bell dramatically swinging from the rafters above the stage.

Rose appeared to be in a good mood too. He dropped a “Hello Cleveland” early in the two-and-a-half-hour set and joked that he wanted to dedicate “You Shook Me All Night Long” to a “future ex-wife.” The set closing “Let There Be Rock” concluded with an extended Angus Young guitar solo that went on for so long (and found Young writhing on the stage floor as he continued to jam), it appeared to even give Rose time to go backstage and shower before he returned for the song’s final notes.

The epic concert’s encore included renditions of “Highway to Hell,” “Riff Raff” and “For Those About to Rock.” At a time when arena rock acts are hard to come by, these Rock Hall inductees, playing their first Cleveland show since 2009, proved once again that they’re capable of delivering a high voltage show.

https://www.clevescene.com/music/axl-rose-capably-leads-ac-dcs-triumphant-return-to-town-4956924

Detroit, September 9



Pictures by Tim Galloway for the Detroit Free Press and Chris Schwegler for Detroit News:

Review of the concert in Detroit; Detroit Free Press, Sept. 10:
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AC/DC makes rock 'n' roll thunder with an impressive Axl Rose

Brian McCollum | Detroit Free Press Pop Music Critic

We knew the rhythm section would be steady and unflinching. We knew Angus Young would be electrifying. We knew the set list would be loaded with the classics.

So just one question loomed going into Friday night’s AC/DC show: How was Axl Rose going to sound?

The verdict, after an exhilarating 2½ hours at the Palace of Auburn Hills: simply spectacular.

Stepping in for the sidelined Brian Johnson, the Guns N’ Roses vocalist delivered a vigorous, note-perfect performance and a show of modesty that seemed to recognize his place in the scheme of it all.

Rose’s enlistment hasn’t been without controversy. Called into duty when Johnson stepped away because of hearing damage — forcing postponement of this Palace show in March — Rose has provoked a fair bit of blowback from skeptical AC/DC purists.

That’s understandable; rock ‘n’ roll allegiances run deep. But as evidenced Friday night, the reality is that there’s a power and robustness in Rose’s voice long missing from Johnson’s live performances — and it helped fortify one of the strongest AC/DC shows metro Detroit has seen in some time.

This was the second Detroit visit on the band’s Rock or Bust Tour, following a jam-packed Ford Field show one year ago this week. While Friday didn’t bring the scope and spectacle of that stadium bash — there were plenty of empty seats amid a Palace crowd that numbered maybe 10,000 — it was certifiably a superior concert experience.

The set lists were similar, save for a handful of intriguing new additions from the band’s Bon Scott era, with the built-in elasticity of Rose’s voice making a solid fit. These were tunes that hadn’t been heard at a Detroit AC/DC concert in years, even decades: “Rock ‘n’ Roll Damnation,” “If You Want Blood (You’ve Got It),” “Live Wire” and “Riff Raff,” with the last two providing some of the night’s most inspired moments.

Rose, on break from GNR’s reunion tour, had a tricky needle to thread: make it sound like AC/DC without overdoing the Axl Rose, but sound enough like Axl Rose not to overdo the mimicry. With lyrics scrolling on monitors at the foot of the stage as a safety net, he managed to pull it off, his voice holding up for the duration of a marathon show where only the bridge of “Hell’s Bells” seemed to test the top of his range.

In a show of respect to the audience and, most of all, to the musicians he’d joined onstage, he kept a humble approach. Rose may be subbing as a singer, but clearly not as a front man. He was satisfied to stand back for much of the night, making only occasional journeys up the stage runway and ensuring the attention sat squarely on Young.

And rightfully so: At 61, the schoolboy-outfitted guitarist is still an an indefatigable sparkplug and the heart of the whole enterprise, scampering and duck-walking across the stage while serving up fiery fretboard heroics on epics like “Whole Lotta Rosie” and “Let There Be Rock.” He seemed as invested as ever as he stood astride the wall of Marshall amps on Friday, cranking out his lengthy improvised solo to end the regular set.

For a seasoned audience that showed up to indulge in a familiar rock ritual, the AC/DC concert trademarks were intact. There were the flames and smoke accompanying “Highway to Hell,” the swinging overhead bell on “Hell’s Bells,” the booming cannons of the show-closing “For Those About to Rock (We Salute You).”

There are just four Rock or Bust shows to go, and the band's future is uncertain. Bassist Cliff Williams has announced his retirement, Malcolm Young is already out because of dementia, and Phil Rudd is mired in ongoing legal troubles. Group founder Young will be the last man standing once this tour wraps up Sept. 20 in Philadelphia,

So the world is dealing with a stitched-together AC/DC at this point, and there’s no telling if this is the end of the road for one of the towering names in the annals of hard rock. If that does turn out to be the case, let the record show: AC/DC certainly didn't limp across the finish line.

https://eu.freep.com/story/entertainment/music/brian-mccollum/2016/09/10/acdc-review-palace-detroit-axl-rose/90178846/

Another review of the show in Detroit; Detroit News, Sept. 10:
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Review: Axl and AC/DC share spotlight at The Palace

Melody Baetens | The Detroit News

Hard rock band AC/DC tore through a two-and-a-half hour set at The Palace of Auburn Hills Friday night with guest lead vocalist Axl Rose. The Guns N' Roses front man lent his iconic, wide-ranging vocals to 24 of the Australian band's tunes, but the spotlight remained on lead guitarist Angus Young throughout the evening.

Kicking off with "Rock or Bust," the title track to the band's 17th studio album, released in 2014, AC/DC - or "Axl/DC as fans affectionately call this line up - seemed to have the crowd's instant approval. This is the tail end "Rock or Bust" tour which began in April 2015 and hit Ford Field in September 2015.

During the set's fourth song, "Back in Black," from the 1980 album of the same name, Rose's sometimes staccato vocal delivery (think "Paradise City") was classic Axl. He compliments AC/DC's hard rock style and isn't a huge departure from the tones fans are used to hearing from longtime singer Brian Johnson. It felt like a historic moment to to hear the voice that made songs like GNR's "Sweet Child O' Mine" part of rock and roll history bring new life to classic rock jams like AC/DC's "Shook Me All Night Long," "Thunderstruck" and "Hells Bells, which were all high points of Friday's concert.

Aside from asking the crowd how they were doing once, Rose hardly addressed the nearly-full Palace throughout the evening. Instead the group threatened to lose momentum each time a song ended and the arena went dark for several seconds while fans were met with silence from the band. While playing, though, energy was high, especially from Young.

The band's 61-year-old co-founder, dressed in his signature school boy uniform (Friday night it was velvet green), was constantly moving, sweating and asking the crowd for more applause.

All night long, the stage belonged to Young. There was only a modest drum riser for Chris Slade, and rhythm guitar Steve Young and bassist Cliff Williams - who provided necessary and gruff backing vocals on "Dirty Deeds Done Dirt Cheap" - were never introduced nor given a spotlight. Even Rose hung back to give Young free range to parade his signature one-foot shuffle up and down the stage and catwalk.

Not to say Rose was meek, appeared out-of-place or needed an introduction. Dressed like a country grunge rocker with cowboy boots, a flannel around his waist and loads of rock and roll jewelry, he more than did the songs justice, and was amusing to watch. His distinctive snake dance and side shuffle was an added bonus to all of Young's signature moves.

During the set Rose smiled and seemed genuinely happy to be where he was. In spite of decades of stories about Rose being a diva, that alleged side of him wasn't part of his demeanor Friday night. And as Detroit fans saw in June when GNR played Ford Field alongside Slash, Rose knows how to step back and give center stage to the guitar gods he's performed with this year.

Young had every spotlight in the house on him toward the end of the set for his 15 minute guitar solo which saw him traveling to the end of the catwalk where the platform raised him up and the obligatory confetti cannons fired. Other massive stage props included an oversized inflatable burlesque-looking doll during "Whole Lotta Rosie" and a row of old-timey-looking cannons for the "For Those About to Rock (We Salute You)" finale.

In March of this year AC/DC canceled 10 dates - including a March 20 concert scheduled for The Palace - after doctors advised singer Brian Johnson to stop touring immediately or risk total hearing loss. Johnson released a statement saying he didn't intent to retire, and still planned to record music in recording studios in the future. Shortly after rumors started to swirl that the Guns N' Roses front man would replace Johnson. Rose was officially announced as Johnson's replacement for the Detroit date in June, just weeks before he kicked off the second leg of Guns N' Roses' "Not in This Lifetime" tour at Ford Field on June 23. That tour picks up again in late October in South America.

AC/DC has a history of not letting missing band mates slow them down. After the band's 1970s-era singer Bon Scott died after a night of too much alcohol, the group replaced him with Johnson (with Scott's parents' blessings) for the next album. When AC/DC co-founder Malcolm Young (Angus' older brother) retired in 2014 due to illness, he was replace with their nephew Stevie Young.

Texas band Tyler Bryant & the Shakedown opened Friday's concert with a 30 minute set of guitar-heavy southern rock.

https://eu.detroitnews.com/story/entertainment/music/2016/09/10/review-acdc/90017684/

Another review for Detroit; Detroit Metro Times, Sept. 10:
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With Axl at the helm, AC/DC brings rock 'n' roll thunder to the Palace

By Dave Phillips

It seemed like three different singers took the stage for AC/DC Friday night at the Palace of Auburn Hills.

And no, that’s not an Axl Rose fat joke.

Rose, who joined the band after Brian Johnson’s hearing issues forced him to stop performing or face permanent deafness, sounded like himself at times. At others, he seemed to channel original AC/DC lead singer Bon Scott. And still other times, he sounded like Johnson.

Paired with the always-impressive talent of guitarist Angus Young and a backing band that remains a strong foundation for the group, AC/DC rocked the Palace at extreme decibels during a 24-song, two-and-a-half-hour set that focused almost exclusively on the band’s biggest hits and fan favorites.

The show — the sixth U.S. date to feature Rose as frontman — is part of the Rock or Bust tour, so, naturally, the show kicked off with the title track to the 2014 album.

After that, Rose greeted the crowd with a “good evening” before diving into “Shoot to Thrill” from the band’s classic Back in Black album.

To watch Rose shimmy around the stage as Young does his classic duck walk toward the center of the stadium floor is an odd sight at first, but both men were their signature selves throughout the show. It took a few songs for AC/DC to really hit their stride, but the fourth song of the evening — “Back in Black” — proved to be an early highlight of the set.

Rose was at his best during the band’s biggest hits, hitting all the right notes and seeming quite comfortable. “Dirty Deeds Done Dirt Cheap,” “Hells Bells” (complete with a huge bell swinging over the band) and “Sin City” were high points. He did stumble a few times along the way, the most notable of which occurred during “Rock 'n' Roll Train,” when he missed a line and had to hustle to a TelePrompTer to catch up with the lyrics.

Through it all, it was clear that Young was the main star of the show, with Rose often standing near the band, watching him along with the rest of his bandmates, seemingly content with just being another dude in the band.

That star shined brightest at the end of the band’s main set, as “Let There Be Rock” featured a lengthy Young guitar solo that saw him head down the runway toward the center of the floor before being raised up toward the rafters as confetti shot throughout the arena. He then ran back toward the main stage, was propelled on top of a walkway above the drum set, and continued the solo before eventually being lowered beneath the structure. A few moments later, he rose up from beneath the stage, devil horns attached and fire behind him, as the band began its encore with "Highway to Hell."

“Riff Raff" led to the final song of the night, “For Those About To Rock (We Salute You)”, with canons firing and all — a fitting tribute if Friday was the last Detroit will ever see of AC/DC.

Rose has now played 18 shows with the band, following a nearly-identical setlist each night, according to Setlist.fm. The tour is scheduled to travel to Buffalo, New York City, and Washington D.C. before wrapping up Sept. 20 in Philadelphia.

https://www.metrotimes.com/music/with-axl-at-the-helm-ac-dc-brings-rock-n-roll-thunder-to-the-palace-2464079

Buffalo, NY, September 11:

Review of the concert in Buffalo; Buffalo.com, Sept. 12:
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Axl/DC entertains at First Niagara Center

By Jeff Miers

I admit it. I didn’t think Axl Rose had it in him. And I was initially horrified by the idea of “Axl/DC,” the marriage of one of the few remaining hard rock ‘n’ roll bands and sometime Guns ‘n’ Roses singer Axl Rose. It struck me as a pairing born of desperation, what with erstwhile singer Brian Johnson being advised to sit out of the tour, lest he go completely deaf.

What struck me about three minutes into Sunday’s Rose-led AC/DC show at First Niagara Center was just how wrong I might’ve been. More than two hours later, I was well-stuffed from eating crow. Rose crushed it. And AC/DC? They’ve never done anything less than crush it anyway, so why should Sunday’s show have been any different?

AC/DC is a band that has spent some 40 years perfecting a strict adherence to lockstep grooves and mighty riffs expressing blues tropes as arena-filling hard rock. Some have expressed the idea that all the band’s songs sound similar.

They’re not wrong, but they miss the point. All of John Lee Hooker’s tunes sound similar too. So what? If it’s a great song, why not play it over and over? Some things are just plain perfect the way they are.

To be fair, there was, within the hard-rockin’ paradigm, variety in Sunday’s set, as it moved from the straight-up boogie of “Rock ‘n Roll Damnation” to the full-tilt near-punk “Thunderstruck” and “High Voltage” without batting a bloodshot eye. It was all heavy, it was all no-nonsense rock ‘n’ roll, but there were indeed subtleties observable by the well-attuned ear and eye.

The star of the 2016 version of the AC/DC juggernaut was the same man who has filled that role from the beginning – guitarist and diminutive Tasmanian Devil Angus Young, who decided as a teenager to take the blues and blues-based rock ‘n’ roll he so loved, and turbo-charge it, crank it to 11, and generally amplify its snotty, anti-authoritarian, “If you think it’s too loud, go away” attitude.

So, not surprisingly, the older-but-still-virile Young was the man who drove home the point of the band’s cacophony repeatedly on Sunday, nailing the deep-pocket grooves and drilling the solos into our heads, as if his sole purpose as a member of the human race was to acquaint us with the primal, liberating ferocity of blues-based guitar soloing.

Credit needs to be given to bassist Cliff Williams and drummer Chris Slade, whose job it was to to shovel coal into the furnace all night long – no filigree, no showing off, nothing flashy lads, thank you very much. No problem for these two. They know what the gig is. Similarly rhythm guitarist Stevie Young – filling in for his Uncle, the ailing band co-founder Malcolm Young – helped to lay down the thick bedrock of these hook-heavy barn-burners.

The heat was on Rose, though. Original vocalist Bon Scott and his posthumous replacement, Brian Johnson, are both revered by AC/DC fans, and Rose spent more than his share of goodwill when he was young, fronting Guns ‘n’ Roses, and acting like a prima donna.

If Rose had arrived unprepared, the Buffalo fans would’ve crucified him. But he didn’t. He came on time, loaded for bear, and in good voice. The band played the tunes in their original keys, and Rose hit the notes hard – from the insanely high “Back in Black” to the equally upper-range-demanding “If you Want Blood (You Got It)”.

Rose nailed it, from start to finish, and acted like a true professional throughout. If there were a bigger AC/DC fan than him in the building in Sunday, I’d be surprised.

But AC/DC is, in the end, about Angus Young, a sneering punk in school boy short pants with the chops of Jimmy Page, the soulfulness of Peter Green and the sneering smirk of Johnny Rotten. Angus gave us his all. Long may he reign.

https://web.archive.org/web/20160913174218/http://buffalo.com/2016/09/12/featured/axldc-entertains-at-first-niagara-center/

Another review for the show in Buffalo; WSBU The Buzz FM, Sept. 28:
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Axl/DC Takes on Buffalo

By Stephen Wilt

Walking up to the First Niagara Center, I must admit, I was quite skeptical if Axl Rose had what it takes to front AC/DC. I quivered at the thought of such a pair. One of few remaining rock legends, AC/DC conjoined with 1985’s Guns ‘n’ Roses singer Axl Rose in the search for a replacement of longtime singer Brian Johnson after being advised to leave the tour out of fear of going completely deaf. The choice of Axl Rose felt like a pairing of quick decision, with little thought to the outcome out of desperation.

It was after the first line to newest hit “Rock or Bust” that I realized I couldn’t be more wrong. AC/DC has never done anything more than killed their shows and why should Sunday, September 11th be different.

Rose absolutely killed it, sounding much like a young Bon Scott.

AC/DC, a rock band that spent much of the last half-century perfecting their tight-knit moves and notes which have no problem reaching the top of arenas, had little difficulty in inviting a new singer to the stage.

Sunday’s set consisted of rather a variety of both new and classic songs. Moving from hard-riff classics to straight grooves, ranging from “High Voltage” to a sweet Rose spin on “Thunderstruck.” It was clean, heavy and yet sounded straight off of one of their 1970s vinyl classics.

Perhaps the main act and star of the show was the man who started it all in the beginning, guitarist and self-proclaimed Devil child Angus Young, who took a Hooker blues-rock base as a young teen and blasted it into rock anthems known around the world.

Upon talking with Angus, he has and will always have one thing to say about his music, “If you think it’s too loud, GO AWAY.”

Jogging down the aisles much like a young Mick Jagger, Young drove the beat and energy of the band Sunday night. As Young’s fingers moved while playing his well-known riffs, it felt as his only purpose on this planet was to deliver music to your ears.

Young speaks candidly and cheerfully about the future of AC/DC.

“We’re committed to finishing this tour,” Young says.

Although there is much controversy over the future of the band without Brain or Malcolm after this tour, Young admits, “Who knows what I’ll feel after? When you sign on and say, ‘I’m gonna do this and that,’ it’s always good to say at the end of it, ‘I’ve done all I said I would do.'”

Much credit is deserved to both retiree Cliff Williams and drummer Chris Slade, who with no flashy solos, no publicity and no signs of aging, led the band’s backbone for the entire night.

The band has been through many fill-ins for members in the last several years, but yet they manage to keep delivering to fans across the world.

AC/DC fans idolize the vocals of original singer Bon Scott, and no different for Brian Johnson. Rose had enormous shoes to fill, and the fans without a question would crucify him if he wasn’t properly prepared. But he was. And he delivered one memorable performance for the audience and the band itself. From the ear-piercing high notes of “Back in Black” to the slow blues licks of “Live Wire,” Rose nailed it.

AC/DC still is and will always be, at the end of the night, Angus Young and his mocking schoolboy outfit, leading the fans through a night of their life you would not want to miss if given the chance.

https://wsbufm.com/2016/09/28/axldc-takes-on-buffalo/

Madison Square Garden, New York, NY, September 14







Pictures by Chad Batka and Joe Russo:

Review for the show in New York; The New York Times, Sept. 15:
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Review: AC/DC, With Axl Rose, Shakes the Garden All Night Long

By Jon Pareles

Primordial rock ingredients — blare, stomp, screech and leer — have all been AC/DC hallmarks for more than four decades. The band, from Australia, has built and maintained its arena-scale following by stubbornly defying any temptation to evolve, and a substitute lead singer who has his own multimillion-selling band — Axl Rose from Guns N’ Roses — wasn’t about to change that. Mr. Rose is one of very few vocalists whose range encompasses the saw-toothed shrillness of AC/DC’s singer since 1980, Brian Johnson, who left the tour with hearing problems. Even with the switch, the AC/DC that performed on Wednesday night at Madison Square Garden was still the institution that the band’s fans cherish.

From the 1970s till its current tour, AC/DC has been dedicated to what one of its songs calls “rock and roll thunder”: midtempo, blues-rooted songs defined by Angus Young’s power-chord riffs and by high, throat-tearing vocals. Its lyrics are full of rowdy lust, working-class pugnacity, rocker pride and invocations of hell that mostly make it sound like a convivial place to end up: “My friends are gonna be there too,” Mr. Rose wailed in one of AC/DC’s anthems, “Highway to Hell.” Behind the band, video screens often lit up with hellfire flames, while the audience in the darkened arena was full of the blinking red lights of souvenir AC/DC devil horns.

Unlike most rock bands, AC/DC centers its stage show not on its lead singer but on its lead guitarist, founder and guiding songwriter: Mr. Young, now 61. At Madison Square Garden, as always, he was dressed in a schoolboy uniform: red jacket and shorts, slouch cap, long necktie, white shirt, white socks, sensible shoes. He spent the two-and-a-half-hour show bounding and scampering and duckwalking all over the stage and on a runway into the audience, as he delivered riffs he has played thousands of times. (He threaded his tie between the strings for a noisy solo in “Sin City.”)

Only Mr. Young remains from AC/DC’s founding lineup. Stevie Young, on rhythm guitar, replaced his uncle, Malcolm Young, Angus’s brother, in 2014, while Cliff Williams took over on bass in 1977. Chris Slade, who pounded the drums in a niche between two tall banks of Marshall amplifiers, has taken turns in and out of the band since the 1980s; he has now replaced Phil Rudd, who was fired last year after pleading guilty to drug charges and death threats. No matter: As long as AC/DC endures, its music is more an archetype than the individual statement of any musician but Angus Young. There’s variety in the songs, and obvious influences from Chuck Berry to the Who, but it’s Mr. Young’s brusque, relentless, nose-to-the-grindstone propulsion that defines AC/DC.

Mr. Rose looked content to be AC/DC’s instrument. He didn’t try to personalize the songs; he stayed in the screech register, barely ever dipping down to the baritone snarl he uses so often in Guns N’ Roses. He belted hard through a strenuous set, although his voice couldn’t match the lecherous glee of Mr. Johnson in songs like “You Shook Me All Night Long.” Mr. Rose cut down on the compulsive outfit changes he brings to Guns N’ Roses, although a few black T-shirts and leather jackets came and went. Striding around the stage, he covered a lot of ground but barely used Mr. Young’s runway. Mr. Rose and Mr. Young have perfected the skill of walking rapidly backward without a glance, no small feat on an arena stage.

Lest anyone mistake that AC/DC is synonymous with Mr. Young’s staying power, he took over the stage during a marathon “Let There Be Rock,” a song that places rock’s origin in 1955, which also happens to be the year Mr. Young was born. It was well into the homestretch of the concert, but Mr. Young just kept going nonstop for 15 minutes. He played blues riffs and zigzag lead lines and nagging trills and manic tremolo crescendos, racing around and under and up and down the whole stage set to end up on an elevator platform in a shower of confetti. It was a show of stamina and of sheer, cantankerous rock ’n’ roll persistence.

https://www.nytimes.com/2016/09/16/arts/music/ac-dc-axl-rose-review.html

Washington DC, September 17















picture by Joseph Szadkowski:



Dave Grohl attended the show:

Review of the show in Washington DC; The Washington Post, Sept. 18:
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Although revamped, AC/DC remains ready to rock all night long

By Dave McKenna

When lead singer Brian Johnson’s hearing problems required that he take an apparently permanent break from rocking, AC/DC called in Axl Rose. That may be the greatest piece of casting since Marlon Brando got to play Don Corleone. It allowed the show to go on for one of history’s most popular hard rock bands, and thank goodness. The oft-revamped quintet showed up at Verizon Center on Saturday, and proved that old guys banging out power chords on guitars and singing about drugs, the devil, booze, women and, mostly, rock-and-roll, could be impossibly fun.

Absent Rose’s role-playing, none of this would have happened. The tour’s existence was shaky even before Johnson’s departure. The band needed to replace drummer Phil Rudd because he had been sentenced to home detention in Australia after arrests on methamphetamine possession and threatening to kill a former employee. So Chris Slade, who drummed for AC/DC for several years beginning in the late 1970s and who turns 70 next month,was brought in. And a new rhythm guitarist, 59-year-old Stevie Young, was called in because his uncle, AC/DC co-founder Malcolm Young, has dementia. Bassist Cliff Williams, 66, has been with the band since 1977 but has said he’s finished for good as of this week, when the current tour ends.

All the personnel moves left guitarist Angus Young as the lone original member. He needed Rose more than Rose needed him. A quarter-century ago, Rose would hold up the start of Guns N’ Roses shows for hours because of vocal difficulties. But through coaching and a throat exercise regimen, he has found his voice late in life. Rose agreed to take on the AC/DC gig while also touring with GN’R, and showed he can shriek like Bon Scott and/or roar like Brian Johnson on command. Teleprompters placed at the front of the stage had lyrics scrolling so the newest new guy wouldn’t forget the words, but Rose was never caught reading and there was never a karaoke feel. Even without the monitors, the age-diverse crowd knew every word to such classics as “Back in Black,” “Shoot to Thrill” and “You Shook Me All Night Long,” the last as fine an arena rock or highway-driving tune as has ever been written.

Rose also showcased a few slithery dances and generally worked as hard as anybody onstage, other than Angus Young. Nobody in rock works harder than Young. Although Young, 61, along with his AC/DC mates, looked haggard, the utter relentlessness of his movements was jaw-dropping.

Wearing his trademark schoolboy outfit, Young flashed his vintage stage move, a skipping maneuver that’s somewhere between Chuck Berry’s duckwalk and an epileptic seizure. During an elongated guitar break on “Let There Be Rock,” Young worked the fretboard while running in circles as he lay on the ground, a move ripped from Curly of the Three Stooges. He then sprinted to the top of a wall of Marshall speaker cabs big enough to block borders.

There were some props. A burlesque blow-up doll jiggled above the stage during “Whole Lotta Rosie,” and for “Hells Bells,” a massive bell swung overhead. Cannons shot off during “For Those About to Rock.” But the accessories never overwhelmed the rock. Everybody in the nearly packed house shrieked along to “Thunderstruck,” a 1990 tune that has been introduced to subsequent generations through incessant inclusion on soundtracks for major motion pictures and video games (including “Madden NFL 11”).

Given the pervading blissfulness, it’s hard to believe that AC/DC was once one of the world’s most dangerous bands. AC/DC was ranked No. 6 on the so-called “Filthy Fifteen” poll released by Tipper Gore’s Parents Music Resource Center in the 1980s, after all. Everybody now knows what the group’s fans did from the start: AC/DC is just plain fun. Near night’s end, all over the arena you could spot fathers arm-in-arm with their sons, each wearing $15 flashing devil’s horns atop their heads, screaming “We’re on the highway to hell!” together at the top of their lungs and smiling like life won’t get better. That’s progress.

https://www.washingtonpost.com/entertainment/music/although-revamped-acdc-remains-ready-to-rock-all-night-long/2016/09/18/861ccda2-7db9-11e6-ad0e-ab0d12c779b1_story.html

Another review for Washington DC; The Washington Times, Sept. 19:
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Concert review: AC/DC and Axl Rose shook Verizon Center all night long

By Joseph Szadkowski

WASHINGTON, DC — Music fans wondering what it would be like to stand in front of a running jet engine for over two hours found out Saturday night when AC/DC stopped by the Verizon Center.

On the second-to-last stop of its world tour, the blues-infected, hard-rock legend enlisted the crooning help of some guy named Axl Rose and offered a loud, quintessential overview of the band’s over 40-year-long musical history.

Guitar maestro Angus Young, 61, still wearing his classic blue school boy uniform, shorts, tie and chapeau, started the aural assault by strolling on stage and playing the opening power chords to the lead song of the band’s latest and 15th studio album “Rock or Bust.”

It was the beginning of a ear-ringing thrill ride causing the sold-out crowd to roar with approval, fist pump and move heads perpendicularly up and down in unison while a red-horns accessory blinked from atop many of their noggins.

Throughout the nearly non-stop, 24-song set, which included a three-song encore, few words were spoken by the group, who instead focused on delivering a stuffed hit parade.

In fact, a quarter of the tunes played were from AC/DC’s 1980 “Back in Black” album, the second-highest selling album in the history of musical recordings, and featured “Shoot to Thrill,” “Hells Bells,” “Give the Dog a Bone” and the title track, of course.

Although the growl of singer Brian Johnson (on hiatus due to hearing health issues, go figure) was sorely missed, Mr. Rose perfectly carried on while taking a break from Guns ‘N Roses.

He looked like a grunge cowboy, complete with boots, Western-style hat, ripped jeans and a T-shirt with Jim Morrison police mugshot on it. Mr. Rose lurked, pranced and stalked around the stage but often hit higher, in key screams, than his predecessor with a pinch of characteristic vibrato thrown in for good measure.

His enthusiasm and dead-on deliveries of classics such as “You Shook Me All Night Long” and “Shot Down in Flames” was appreciated as well as his deferential treatment to Mr. Young, giving him the spotlight nearly all the time.

With only a few quips such as “AC is in DC,” between tunes, he focused on singing and brought the vintage “Whole Lotta Rosie” to new heights and offered a particularly potent “Thunderstruck” with a youthful gusto.

And, when fitting, Mr. Rose often stood nearer the back of the stage and admired Mr. Young’s lead guitarist’s magic.

And, with good reason, as his greatest vocal moments were easily eclipsed by Mr. Young’s energy and musical proficiency all night.

In near-constant motion, the guitar wizard duck-walked and ran across the stage and a runway, used his tie at one point as a slide on the guitar neck and even gave his best Curly Howard, dropping to the floor and spinning around like a top, while never missing a note.

It’s worth mentioning that it has been a rough couple of years for AC/DC. Besides Mr. Johnson’s departure, drummer Phil Rudd left due to drug activity and rhythm guitarist Malcolm Young (Angus’ brother) fell into the throes of dementia while bassist Cliff Williams expressed he may retire after the tour.

Nevertheless, Mr. Williams and the support musicians of Mr. Young’s nephew Stevie Young on rhythm guitar and veteran, 69-year old thumper Chris Slade rose to the occasion, delivering a pulverizing, Cro-Magnon style attack while the tag team duo of Mr. Rose and Mr. Young chewed up the sonic scenery.

“Let There Be Rock” closed the show’s core set and was topped off by a no-less-than-15-minute, fairly excessive guitar solo from Angus Young that threatened to wear out the audience but not the band.

After a brief respite, the boys came back out for “Highway to Hell,” with plenty of flames and Mr. Young rising out of the stage floor.

Next, the frantic “Riff Raff” and finally “For Those About to Rock,” finished the night complete with five canons rolled out over the walls of Marshal speakers that occasionally fired in rhythmic unison.

Suffice it to report, the audience was shook all night long in reverence to the masters of rock known as AC/DC.

In a fun note, before the band walked out, another younger, legend of rock and roll sat amidst the masses.

Nirvana and Foo Fighter’s own Dave Grohl was in attendance and was immediately overwhelmed with requests for selfies. He politely accommodated all fans before settling down to the music, head bopping in appreciation.

https://www.washingtontimes.com/news/2016/sep/19/concert-review-acdc-and-axl-rose-shook-verizon/

Last show: Philadelphia, September 20









Pictures from Ultimate Classic Rock:





Pictures from Pop Entertainment Blog:

Review of the show in Philadelphia in Ultimate Classic Rock, Sept. 21:
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AC/DC Play Last ‘Rock or Bust’ Show in Philadelphia: Photos, Set List, Review

By Michael Christopher

The AC/DC tour with Axl Rose at the mic has finally come to an end, with the last of the rescheduled dates in North America taking place last night in Philadelphia at the Wells Fargo Center. A sold-out crowd of nearly 20,000 were on hand for the show, the 22nd of the group's shows performed around the world since singer Brian Johnson had to bow out due to an issue with his hearing.

Opening up with "Rock Or Bust," Angus Young and Co. ripped through the 25 song set - the longest of the tour, and maybe ever in AC/DC history - in what would mark the end of longtime bassist Cliff Williams' tenure in the band. Angus honored Williams as the final notes to "For Those About to Rock (We Salute You)" rang out by coaxing him to the front of the stage in acknowledgement of his nearly 40 year run with the group.

Yet while it was the end of the Williams-era for AC/DC, the show felt nothing like a finale other than it being the end of a tour, despite the bassist's exit leaving Angus as the sole original member. The energy Rose has injected into Young's playing seems to be off the charts; the guitarist looked spry and fresh at 61 years of age, duck-walking, jumping about and running nonstop throughout the two-hour set. And while there were some refunds given for the Philadelphia show and the other 20-odd rescheduled dates with the Guns N' Roses frontman, for the most part he was warmly received.

There seems to be a sense among fans - and maybe Young as well - that the group has endured so much tragedy and discord, from the 1980 death of original singer Bon Scott through the more recent bizarre legal saga of drummer Phil Rudd and ultimately Johnson's departure, that existing on any level at all is a bonus. The crowd was awash in a sea of $15 light-up devil horns last night. Fans rocked fervently to the hits "Thunderstruck," "Back In Black" and "Highway to Hell" in appreciation of Angus continuing to hold the AC/DC torch aloft and refusing to let the band be - pardon the pun - shot down in flames.

What the future holds for AC/DC is anyone's guess, but what once seemed absolutely incongruous with Rose in the singer slot has revitalized a unit that while not particularly stale, has benefited from his dedication to nailing the material and bringing out songs that hardcore fans have been hoping against hope to hear for years. When the opening notes of "Problem Child" kicked in during the encore after "Riff Raff," thousands of jaws dropped at the same time upon realizing this was the song's first performance by AC/DC in a decade and a half. It's hard to imagine even the most zealous fans not appreciating that and, even if it's out of sheer curiosity, wondering what will come next.

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