Party On, Dude

The Me Generation hasn't stopped believin' in its own soundtrack

Get ready, Houston, 'cuz here they come -- rolling into town in waves all summer long. No, not the Bayou City's infamous mosquito swarms, but the rock and roll package tours featuring '70s and '80s bands. And though these acts may have been off the charts for decades, their shows still attract audiences in numbers that many of today's top artists can't touch.

Mostly taking place during the summer in outdoor amphitheaters or "sheds," the bands on these bills are out to stir memories, spur record sales and maybe throw in a few new songs to boot, hoping against hope you won't view them as a good time to take a leak. And with an estimated two-thirds of all annual concert revenue racked up between Memorial Day and Labor Day, the competition for a concertgoer's cash is more heated than ever.

"The baby boomer generation have tended to stay loyal to the artists they grew up with," says Gary Bongiovanni, editor of Pollstar, a trade publication that tracks the concert industry. "They really relate to those artists, and they still come out to support them."

The Top Hair Metal Band of All Time: Poison, sans most of the hair.
Andrea Wellenberg
The Top Hair Metal Band of All Time: Poison, sans most of the hair.
Dust in the wind we may be, but Kansas is reaching for immortality.
Dust in the wind we may be, but Kansas is reaching for immortality.

Locally, most of these package tours stop at the Cynthia Woods Mitchell Pavilion in The Woodlands. It's a hot stop, according to Bob Roux, the VP of music for the southwest region for SFX, which books rock acts at the venue. "Houston is one of the strongest markets in the country for these tours. We often set records for attendance, and our merchandise sales are always among the highest in the country," he says. "And that's a pretty good tool for measuring fan loyalty."

Roux says that while many of these bands' original fans, now ages 35 to 55, are willing to dole out big bucks for seats (and restroom proximity), the general-admission hill tickets, often as low as $15 to $20, are ideally suited for the younger fan, or the cash-strapped senior headbanger deciding whether to pay the car insurance for the month or party hearty for one nostalgic night.

"They want bodies there to pay for parking and drink beer and eat hot dogs. That's where [a venue's] profit comes from, not tickets," Bongiovanni adds.

Houston has already seen one of these tours with the Styx/Bad Company/Billy Squier/Survivor/Blue Öyster Cult show last week, which had all the ingredients of a well-put-together package: instantly recognizable bands of a similar genre with a number of hits under their belt. Even if hearing "Eye of the Tiger" one more time makes you want to vomit that pavilion hot dog, just wait a little while, and you'll also get "Don't Fear the Reaper," "The Stroke," "Shooting Star," "Don't Stop Believin'," "Come Sail Away" and a veritable arena-rock hit parade all in the same night.

"We know that the economy isn't as good as it was, concert prices are high, and we've changed our lineup, so people might not be sure about going," says Jonathan Cain, keyboardist for Journey, who headlines a June 10 Woodlands show with Peter Frampton and John Waite. "So having a package like [ours] offers a value."

Lead singer Bret Michaels of Poison, whose band will oversee the all-day Glam Slam Metal Jam on Sunday, May 27, at The Woodlands, says he's "psyched" about having so many acts on his bill. The virtual who's who of '80s hair metal includes Vince Neil (of Mötley Crüe), Quiet Riot, Great White, Warrant, Enuff Z'Nuff and the Bulletboys.

According to Michaels, Poison has always done well in Texas, but he has another ace up his sleeve: the best-known lineup of his band. How much that matters to a band's ticket sales and credibility is a hotly debated topic among fans. While the loss of a drummer or a bassist is a generally unlamented fact of rock and roll life, things get dicier when the "missing" member is a lead guitarist or singer.

Of course, there have been many examples of bands who weren't affected by such major shake-ups. AC/DC went on to even bigger success after the death of vocalist Bon Scott. The Hotel California-era Eagles and the Rumours edition of Fleetwood Mac had less than half of their original members.

But for bands on the downside, it's another story. No two groups know that better than Styx or Journey, whose current lineups are without singers Dennis DeYoung and Steve Perry, respectively. The solution for both acts was to find a vocal doppelgänger. This thankless task involves subsuming one's own sound under that of the more famous predecessor, all while taking a ton of flak from hard-core fans for not actually being that person. In that respect, the jobs of Lawrence Gowan (Styx) and Steve Augeri (Journey) are even harder.

"If we had somebody who sounded different, then we wouldn't have called it Journey. It wouldn't have the same feeling," says Cain. "And without [Augeri], we wouldn't have already had two successful tours. We needed someone who could carry the old material off."

The hits, of course, are what people come to hear. But many of the package-tour bands are also still actively recording. Journey's Arrival (Columbia) manages to maintain its familiar sound with a more contemporary approach. But even Cain is skeptical about its potential commercial success.

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